Thesis (MFA)--Montana State University--Bozeman, 2009. / Typescript. Chairperson, Graduate Committee: Cindy Stillwell. Why don't we ride zebras is a DVD accompanying the thesis. Includes bibliographical references (leaves 29-34).

This PhD by prior publication comprises a major rephotography project undertaken in two phases (First View, 1986-89 and Second View, 2009-12), together with a written commentary. The project is based on an area along the A62 which connects Manchester to Oldham, a corridor route, which I considered invisible and between places, a seeming ‘non place’.1 The research questions how can topographic images made by adopting strategies of rephotography help to depict aspects of place that remain hidden in generic representations and how, in turn, this photographic record can be put to use. The accompanying critical commentary investigates how this project came to be realised, the photographic research methodologies employed, and relevant contextual frameworks together with the different contexts through which the work has been disseminated and shared. It considers what the practice of rephotography contributes as a visual research method when analysing the shifting topography of a specific urban corridor. Further to this, it suggests ways in which such rephotography can engage different audiences and communities in debate about lived experience of social and economic change. The First View photographic research project was initially conducted by making a series of visits to the area each year recording transformation through redevelopment projects and subtler changes such as incidental events on the street and the variations of seasons. The project took an ethnographic approach to human involvement with place and space (Massey, D. 1994) as well as drawing upon anthropological methods that employ photography as a research tool (Prosser, J. 1998). Outputs from this project demonstrate processes adopted and examples of the photography made. A selection of photographs from First View became a touring exhibition shown in Oldham and Manchester (1986-87) and then in London. A book was also published by the Architectural Association (1987) with a commentary written by Ian Jeffrey. The second view (2009-12) revisits the first survey and considers what happened after. I wanted to consider twenty five years on how the continued process of change may have increasingly eroded/altered the sense of place 1 This term derives from Marc Augé’s book, Lieux et Non-Lieux (2001). 6 within the community. Since the First View a number of external factors influenced how the research would continue. The political scene had changed with introduction of private initiatives and housing associations taking responsibility to manage and refurbish aging housing stock in the public sector closer to the Manchester and in areas towards Oldham. Further cleared areas remained undeveloped due to a major financial downturn. Also the adoption of digital technologies had changed how photography was made, viewed, and used. This led me to consider how the Second View could be more collaborative (Kester, G. 2011) and so modify my method and find new ways to interact with members of the community to help inform the work. Outputs included exhibitions at Gallery Oldham and The People’s History Museum, Manchester and an accompanying commentary written by Stephen Hanson. I also include reviews and examples of additional collaborative photography made and shown alongside the core exhibitions. Examples of the printed work are now housed in Oldham library (including the complete set of Second View exhibition prints, contact sheets and this written report). It is permanently accessible for public and academic use under a commons license. Although it can be argued that all photographic practice contains elements of rephotography, this project contributes to original knowledge through analysis of processes used to make the first long-term comparative and detailed photographic study of the Oldham Road as an area exemplifying shift from industrialisation to service provision. ‘Hermeneutic perspectives emphasise photographs as texts, demanding semantic and semiotic interpretation to determine meaning’ (Margolis and Rowe, 2012). The corridor is now undergoing further changes as new projects by housing associations and globalised business begin to fill the spaces left by previous clearances. My published work shows connections, continuities and breakages and new questions emerge about what values are worth preserving for a future community. I suggest that a continuing photographic element can contribute to an understanding of incidental detail that can influence a more sensitive management of infrastructure and potentially help residents adjust to change and thus maintain their sense of place.

Blood Brothers as a media project works as a diptych. There are two – seemingly identical – pieces of the project that must both be experienced to understand the project as a whole. The first piece of the project is the linear documentary. This part captures the experience as it exists in the past. It exists as a master copy of the original story of mine and my foster brother’s relationship. This version of the story will always exist in the past. The second part is the live-cinema documentary performance. In this version of the story, my foster brother and I are no longer only images on a screen; we are living, breathing, and emotional subjects in the present. Our presence alters how the audience consumes the material.

No description available.

This dissertation examines the surge of long form and citational poetry in the first decades of the twenty-first century and the revival of the term “documentary” to describe these projects, a configuration that I refer to as “late documentary poetics.” Documentary poetry emerged as a distinct genre in and around the time of the Great Depression, as writers and artists on the political left developed new aesthetic forms to respond to economic, social, and environmental crises. In the same period, documentary cultural production was integrated into state-sponsored programs, like those established under the New Deal, and played an important role in consolidating the liberal nation-building project in both the United States and Canada. My account of documentary poetry’s development in the early twentieth century follows and extends existing studies of documentary film and literature that emphasize how documentary’s early association with left radicalism was intentionally incorporated into the project of liberal governmentality in North America in order to develop a form of state-sanctioned opposition that was primarily cultural rather than political, reform-based rather than revolutionary. Throughout this dissertation, I argue that late documentary poetics not only addresses the colonial and state archive thematically through the citation of institutional, legal, and corporate documents, but also engages with documentary’s own history as both a tradition of anti-capitalist writing and an infrastructure of governance rooted in the instrumentalization of cultural policy. By analyzing the social and political conditions of documentary poetry’s emergence, I expand formal accounts of documentary poetics by connecting aesthetic structures associated with documentary composition like citation, visuality, and generic mobility to related structures of liberal governmentality like territoriality, carcerality, and individual agency. I use the term “infrastructure” to refer to the co-construction of these aesthetic and social forms because it emphasizes how documentary poetics materializes the assumptions of liberal modernity not by reflecting or reproducing social conditions in literary form but as an active participant in a dynamic system that includes literary forms but also institutions, communities, media, geographies, and histories. My chapters put several recent documentary poetry projects by Mark Nowak, Juliana Spahr, Cecily Nicholson, and Mercedes Eng in dialogue with related modernist documentary poems by Tillie Olsen, Muriel Rukeyser, and Dorothy Livesay to argue that late documentary poetics is what Raymond Williams calls a “residual cultural practice” because it makes meaning by negotiating documentary’s infrastructure without taking it to be permanent or unopposed.

This thesis film is an examination of my evolving perspectives and understanding of my Irish heritage as I travel to the city of Belfast, Northern Ireland. Through the course of a year and a half, I traveled to Belfast to explore the modern state of the sectarian conflicts between the Catholic and Protestant communities. Through the use of personal reflection, historical research, interviews with local residents, and on-location experiential learning, I began to learn not only about the modern state of Belfast and its economic and social climate, but also about the complexities of personal cultural identification and the concept of “truth” and “mutual guilt” when associated with acts of violence. With the use of the short documentary as the medium of choice, I am able to relay to audiences not only my own personal reflection of identity and history, but then allow them to reflect on their own perspectives as well, helping to create sincere moments of personal thought and reflections.

published_or_final_version / Comparative Literature / Doctoral / Doctor of Philosophy

Proposta de um modelo teórico para a construção e compatibilização de Linguagens Documentárias cujo referente é a Terminologia da área do conhecimento a ser representado por um Sistema de Informação. Para atingir este objetivo procuramos: definição de um modelo de comunicação entre o acervo de um Sistema de Informação e o seu usuário, isto é, um modelo de comunicação documentária onde a LD é elemento essencial; definir o que é uma LD, como elas são constituídas e quais as principais LDs utilizadas pelos Sistemas de Informação para realizar a representação documentária, analisar especificamente a representação documentária, verificando que esta questão tem se tornado prioritária na medida em que o universo de informações a ser representado tem se ampliado consideravelmente devido ao desenvolvimento científico e tecnológico e que a LD por si só não consegue realizar a contento esta função necessitando recorrer a Terminologia da área do conhecimento como instrumento normalizador; explicitar através de um estudo de caso os problemas de não utilização de um referente terminológico. O modelo teórico proposto define o lugar da terminologia, e sua função de normalização do significado, no processo de representação documentária para a transferência da informação, como um referente de uma LD. Concluímos que um Sistema de Informação somente poderá realizar a transferência da informação do seu acervo para o seu usuário na medida em que a LD utilizada para representar e recuperar a informação, seja construída a partir do referencial terminológico da área do conhecimento a que pertence o acervo independente do suporte físico de seus documentos. Assim, podemos evitar a diversidade de representações para a mesma informação, o que torna a Terminologia também um instrumento essencial quando necessitamos compatibilizar LDs. / The theoretical model proposed in the research intends to present the Terminology of de knowledge’s field to be represented by the Information System, like a referential for the production and compatibility of the Documentary Languages (LDs). The process developed in the work is based on the following procedures: establishment of communication model between the collection of the Information System and the user, wich means a documentary communication model in wich LD is an essential element; definition of the LD, what it is, how they are built and wich main LDs are usede by the Information System to make a Documentary Representation; analysing the Documentaru Representation specifically, observing that this point is becoming priority as the information universe to be represented has increased considerably because of technological and scientific development and as LD itself is not able to carry out this function it has to count on knowledge’s field’s terminology as an instrument tha standardizes; presenting the problems of lack of use of a terminological referential in a sample. The theoretical model here proposed defines the terminology’s local and its function of meaning’s standardization, in the process of Documentary Representation to transfer the Information System, as a referential of LD. The conclusion is that the Information System can only transfer the information from its collection to its user if LD used as a code in the process os Documentary Communication, or the LD used to represent and retrievel the information, is based on the terminological referential of the collection’s knowledge’s field, not considering the physical support of its documents. So it’s possible to avoid diversity of representation for the same information, which makes Terminology also an essential instrument when needings to make LDs compatible.

by Lam Pui-fong Karen. / Thesis (M.B.A.)--Chinese University of Hong Kong, 1993. / Includes bibliographical references (leaves 51-53). / ABSTRACT --- p.ii / TABLE OF CONTENTS --- p.iv / ACKNOWLEDGEMENT --- p.v / Chapter / Chapter I. --- INTRODUCTION --- p.1 / Chapter II. --- PROBLEMS AND METHODOLOGY --- p.7 / Chapter III. --- TYPES OF INTERNATIONAL TRADE SETTLEMENT --- p.11 / International Trade --- p.11 / Parties Involved in Doing International Trade --- p.12 / Payment Methods Used by Hong Kong Exporters --- p.14 / Chapter IV. --- RISK PARAMETERS IN INTERNATIONAL TRADE… --- p.22 / General Commercial Risks --- p.22 / Additional Risk Parameters --- p.24 / Chapter V. --- COMMON TRADE SETTLEMENT METHODS IN HONG KONG --- p.34 / Implicit Controls --- p.35 / Financing Ease --- p.37 / Political Arbitrage --- p.40 / Chapter VI. --- CONCLUSIONS --- p.43 / Documentary Risks --- p.43 / Bank Risks --- p.45 / Jurisdiction --- p.46 / Summary Observations --- p.47 / Concluding Remarks --- p.50 / BIBLIOGRAPHY --- p.51

My thesis on contemporary animated documentaries links new media aesthetics with the documentary turn in contemporary visual culture. Drawing from the fields of Contemporary Art, Animation, Film Studies and Gaming Theory, my aim has been to explore the development of animated documentaries in the context of animation's intersection with other visual fields in a very specific technological moment of the past two decades in order to broaden the scope within which animation is analysed and understood. The starting point of my research was the widely accepted divide assumed to exist between animation and documentary. I, however, claim that the supposedly contradictory nature of animated documentaries can no longer be considered a given. Despite the potentially challenging reception of animated documentaries, it is important to identify what it is that the animated image contributes to documentary, which is the visualisation of what is otherwise un-representable. My thesis investigates a new area of the intangible, focusing on the virtualisation of culture rather than on subjective or imaginary aspects of documentary works and visual interpretations. This cultural shift consequently requires new aesthetics of documentation that exceed the capacities of the photographic. My main argument is that due to contemporary technological changes, animation has permeated real contexts of daily life to the extent that it has become disassociated from the realm of fiction. Rather, in altering the way viewers are becoming accustomed to observing, learning about and connecting with reality, animation has brought about a constitutive change in ways of seeing one's world. This change can be described as animation’s impact on the relation between visual signification and believability. It is this which necessitates a reconsideration of what shapes a sense of realism in documentaries today. My research therefore culminates with new conceptualisations concerning the cultural role of animation, introducing what I argue is the formation of the "animated document" and "documentary animation". In these contexts, animation is no longer an interpretive visualisation substituting for photography but a direct capturing of animated realities. Animation thus expands what is considered to constitute reality and, as a result, also destabilises assumptions about the perceived conflict between animation and documentary, widening the sphere of documentary aesthetics.