台灣伊斯蘭教(臺灣仍慣稱回教)的發展自古至今分為兩個階段,即明清時 期與 1949 及以後,且皆由中國大陸遷移而來。隨著 1949 年國民黨退居臺灣以來, 數萬信奉伊斯蘭教的軍公教人員分多批次隨之來台,使伊斯蘭教(回教)在臺灣 的發展加入了新的蓬勃血脈,雖然來台原因多有悲情成分,但此卻可謂是伊斯蘭 教(回教)在近現代正式傳入臺灣之始。 作為台灣的極少數族群,僅佔台灣人口 0.23%的台灣華人穆斯林如今已有明 顯的地方化與生活化現象,隨著老一代教胞的逐漸消逝與新生代脫教問題在該群 族中日益顯現,臺灣華人穆斯林的傳承問題便尤為棘手。對於臺灣社會來講,甚 少有人留意這群在臺灣多元社會中來自他鄉的離散者,實踐著與臺灣宗教生活中 佔據主流地方的佛教、道教信仰截然不同之宗教。此番情勢與穆斯林議題在世界 範圍內的討論熱度天壤之別,但卻與台灣在世界版圖中咸少被人提及的情況不謀 而合,而這本身亦是一種「弔詭」的現象值得人們反思。 本創作是台灣首次以民族誌影像的方式,利用紀實攝影手法完成的專題圖片 深度報導,主要拍攝為北台灣華語穆斯林族群,選取台北清真寺及桃園龍岡清真 寺為田野調查點,通過在這兩座清真寺進行日常禮拜的穆斯林,尋找不同年齡 層、不同性別、不同家庭環境的拍攝對象,力圖盡可能全面的再現北台灣華語穆 斯林宗教活動及日常生活的點滴過程,并最終以展覽形式呈現於世人。 / Islam in Taiwan-usually still called Hui Religion-has developed as two stages, Ming & Qing Dynasties and after 1949, which both were originated from Mainland China. Since Kuomintang’s retreat in 1949, thousands of Islamic soldiers came to Taiwan, infusing new blood into Islam’s development. Although the retreat is somewhat tragic, this could be called the formal initiation of modern Islam in Taiwan. Living as minorities in Taiwan with a population of only 0.23% in Taiwan, Asian Islam have been very much localized. Given that old Muslims are passing away and new generations are no longer believing in Islam, the problem of inheritance becomes more and more tough. In Taiwan, few people notice that these travelers have been living a different religious life different from the mainstream Buddhism or Taoism, which is totally the opposite compared with the world scale. However, both being ignored by the world, it coincides with Taiwan’s international position, which is unusual and worth study. This investigative project is designed to show as realistic as possible Asian Islam’s life in Taiwan as a whole by documenting religious and daily lives of Muslims of different ages, genders and families through photography, who are mainly from Northern Taiwan. Field researches have been done in Taipei Mosque and Taoyuan City Mosque. The final product will be a photo exhibition the mass.

The thesis "A content analysis of photographs in Pestry tyden and LIFE magazine" analyses two successful magazines of the first half of the 20th century. Intentionally, two periodicals of different origin (Czechoslovakia and the United States) are compared to investigate the assumption that the different origin has major influence on the overall concept and focus of the periodicals. The subject of this study is the selection of volumes of 1937-1945, the period of the greatest success of both magazines. The study aims not only at describing the contents of the periodicals but also at situating them into social, political and art-historical context. The study is based on a theoretical part which gives a general overview of photojournalism and tracks the slow beginning of journalistic photography and the birth of the first illustrated magazines. This part also deals with technological development which made possible quality image journalism. The study does not leave out numerous restrictions, e. g. censorship, which were a frequent point of struggle for the magazines' authors. Key words: illustrated magazines, magazine photography, photojournalism, documentary photography, war photography, censorship, propaganda

A tese investiga as dinâmicas da imagem fotográfica presentes na poética do artista brasileiro Miguel Rio Branco. Para isso, a sua trajetória é pesquisada tendo como objetos de análise seus livros Dulce Sudor Amargo (1985), Nakta (1996) e Silent Book (1998), e o filme Nada Levarei quando Morrer Aqueles que Mim Deve Cobrarei no Inferno (sic), realizado em 1981. Tais obras são eixos que permitem compreender a lida complexa que o artista mantém com as noções de tempo, percepção e realidade. Nesse processo, a fotografia desempenha um papel instigante na reestruturação do objeto percebido enquanto fenômeno em um mundo compreendido pela imagem. Ao trabalhar a imagem fotográfica com aparente procedimento direto na captação do objeto, Miguel Rio Branco não se detém no objeto ou assunto, mas extrai dele sua possibilidade de expressão, entre as marcas indiciais e as representações simbólicas. Essa intervenção do artista imprime ao objeto outra condição: misto de sua presença física no mundo e uma natureza distinta, revelada na imagem. Suas construções narrativas, observadas a partir da produção de seus livros e da sua relação com as estéticas do cinema, serão analisadas como elementos singulares para contribuição do debate sobre fotografia no campo da arte. Proponho investigar a instabilidade do signo fotográfico no conceito histórico da fotografia documental na arte, tendo como parâmetro o trabalho do artista, suas motivações de ruptura com a tradição do documento e a constituição de sua poética entre as décadas de 1970 e 1990. / The dissertation investigates the dynamics of the photographic image present in the poetics of Brazilian artist Miguel Rio Branco. For such, I examine his trajectory through analytical objects: the books \"Dulce Sudor Amargo\"(1985), \"Nakta\" (1996), and \"Silent Book\" (1998), as well as the movie \"Nada levarei quando morrer aqueles que mim deve cobrarei no inferno\" (sic) or, in English \"I shall take nothing when those die who owe me will charge in hell\" (sic) made in 1981. These works are axes that allow the comprehension of the artist\'s complex handling of the notions of time, perception, and reality. In this process photography plays a thought-provoking role in restructuring the perceived object as a phenomenon in a world understood through the image. When Miguel Rio Branco works the photographic image with an apparently direct procedure for capturing the object, he does not only focus on the object or subject, but draws their entire possibility of expression, between the indexical marks and symbolic representations. This intervention imprints another condition on the object: a mix of its physical presence in the world and a distinct nature, revealed in the image. His narrative constructions, observed in the production of his books and his relationship with the cinema\'s aesthetics, will be analyzed as unique elements that contribute with the photography debate in the field of Arts. I propose the investigation of the instability of the photographic sign within the historical concept of documentary photography in the arts. As a parameter, I adopt the artist\'s work, his motivations for relinquishing the documentary tradition, and the constitution of his poetics between the decades of 1970 and 1990.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-10-23T12:20:52Z No. of bitstreams: 1 Alessandra Di Giorgi Chélest.pdf: 3710324 bytes, checksum: c4ed92f826323bfaa8b4949b9bc2756a (MD5) / Made available in DSpace on 2017-10-23T12:20:54Z (GMT). No. of bitstreams: 1 Alessandra Di Giorgi Chélest.pdf: 3710324 bytes, checksum: c4ed92f826323bfaa8b4949b9bc2756a (MD5) Previous issue date: 2017-10-05 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research analyzes the Chilean dictatorship during the 1980s, a period not very discussed in historiography, but a moment wich maintains a profound process of violence and persecution, from the images portrayed by Pablo Salas, a protest videographer who reveals arbitrariness practiced by the Chilean dictatorship. The research is based above all in images, taken as documents of the time, compared by the bibliography and documents produced by the Chilean State and denunciations. This reserarch also shows the direct mesh between the visual environment and the resistance and denunciation movements that expressed the class struggles, a period of great insecurity in which the tentacles of the persecutary state reached the people - which supplies the footage of images by Salas. These images synthesize a movement whose social function was to have succeeded in producing itself as an expression of the collectivity of particular social groups, of a sociabilities mesh that the years of state terrorism have not been able to destroy / Esta pesquisa analisa a ditadura chilena durante a década de 1980, período pouco discutido na historiografia, mas que mantém um processo profundo de violência e perseguições, a partir das imagens retratadas por Pablo Salas, cinegrafista de protesto que revela arbitrariedades praticadas pela ditadura. A pesquisa se ancora especialmente em imagens, tomadas como documentos da época, cotejadas pela bibliografia e documentos, produzidos pelo próprio Estado chileno, e denúncias. Também apresenta a ligação direta entre o ambiente das visualidades e os movimentos de resistência e denúncias que expressavam as lutas de classes, um período de grande insegurança no qual os tentáculos do Estado persecutório atingiram a população – o que fornece o material das imagens de Salas. Essas imagens sintetizam um movimento cuja função social foi a de ter conseguido se produzir enquanto expressão da coletividade de determinados grupos sociais, de uma rede de sociabilidades, que os anos de terrorismo de Estado não foram capazes de destruir

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-12-15T11:37:02Z No. of bitstreams: 1 Marcus Túlio Borowiski Lavarda.pdf: 9503363 bytes, checksum: 9376ea1d0dd7e15941a26a4aec0bc4b9 (MD5) / Made available in DSpace on 2017-12-15T11:37:02Z (GMT). No. of bitstreams: 1 Marcus Túlio Borowiski Lavarda.pdf: 9503363 bytes, checksum: 9376ea1d0dd7e15941a26a4aec0bc4b9 (MD5) Previous issue date: 2017-12-07 / This paper aims to analyze Sebastião Salgado’s photographs about the region of Serra Pelada and its gold-mining activities that took place mainly from 1980 to 1992. This study focuses mainly in a photo series called Ouro, Serra Pelada, Brasil (Gold, Serra Pelada, Brazil), which is part of Salgado’s masterpiece Workers (1996). This monumental body of photographic work depicts what was coined by the Brazilian media at that time “a human ant nest”. The methodology used in this study is an analysis of document-based bibliographical research on reference papers about Salgado’s work as well as other journalistic photos of the gold mine pits, such as the ones published in Brazilian journalist Ricardo Kotscho’s book Serra Pelada: uma ferida aberta na selva (1984). The main theoretical concept used was Roland Barthes’ semiology, particularly the Barthesian concept of myth – viewed as a system of signs that indefinitely expands the initial representations of the meaning. The theoretical framework of this paper also relies on reference studies on the Barthesian critique. The assumption of this study is that Salgado’s photographic work relies on the process of super construction of themes – as most photographers do – as described in Barthes’ Mythologies. This is thought to be a relevant theme for investigation because no scholars have scrutinized Salgado’s Serra Pelada yet – hence this attempt to analyze Salgado’s work from an academic perspective / Esta tese contempla as fotografias feitas em Serra Pelada, p garimpo ativo no Pará no período de 1980 a 1992, por Sebastião Salgado. Dentre os muitos registros realizados em meio ao “formigueiro humano” do garimpo, segundo metáfora que lhe foi atribuída pela imprensa da época, elege-se como corpus principal da pesquisa a série fotográfica “Ouro, Serra Pelada, Brasil”, que consta da obra monumental intitulada Trabalhadores (1996), do renomado fotógrafo brasileiro. Metodologicamente, a pesquisa é bibliográfica e documental, abarcando obras de referência sobre a fotografia e as imagens, assim como reportagens de impacto sobre o referido formigueiro, como aquelas do jornalista Ricardo Kotscho, publicadas no livro Serra Pelada: uma ferida aberta na selva (1984). O principal referencial da pesquisa é a semiologia de Roland Barthes e mais especificamente o conceito barthesiano de “mito”, entendido como sistema conotado que distende abusivamente o sentido das representações iniciais de que parte. Tal base teórica demanda ainda a consideração de estudos abalizados sobre a crítica barthesiana. Trabalhamos com a hipótese de que a cobertura fotográfica em questão incorre naquilo que, em Mitologias, Barthes chama a “sobreconstrução” do tema pelo fotógrafo. A relevância da pesquisa prende-se ao fato de não haver, por ora, recepção acadêmica dos testemunhos fotográficos de Serra Pelada e à tentativa que aqui se leva a cabo de pensar as imagens de Salgado

For decades, scholars have debated the significance of the Works Progress Administration (WPA), emphasizing its political, economic, and artistic impact. This historiography is dominated by the accomplishments of white men. In an effort to highlight the long-neglected legions of black women who contributed to WPA projects and navigated the agency’s discriminatory practices, this paper will examine WPA operations in New Orleans where unemployment was the highest in the urban south, black women completed numerous large-scale projects, and white supremacist notions guided relief protocol. By analyzing the New Orleans WPA Photography collection, along with newspapers, government documents, and oral histories, a new perspective of the WPA emerges to illuminate the experiences of marginalized black women workers, illustrate how the legacies of slavery and effects of segregation impact black women’s employment opportunities, and highlight how black women made substantive contributions to public projects in the face of societal constraints.

Naryškin Romanas, Socialinis portretas Lietuvos fotografijoje, fotografijų ciklas „Nebūtini“: Audiovizualinio meno studijų bakalauro baigiamasis darbas / vadovas A. Uogintas; Šiaulių Universitetas, Menų fakultetas, Dailės katedra. Šiauliai, 2014 m. 43 p. Bakalauro darbe nagrinėjamas socialinis portretas fotografijoje pirmiausiai aptariant dokumentinę, tuomet – socialinę dokumentinę fotografiją, kalbama apie jos ištakas Lietuvoje remiantis Margaritos Matulytės teorine ţiūra. Kūrybiniam darbui išskiriama konkreti socialinės atskirties grupė – benamiai-elgetos, apibrėţiama benamystė kaip socialinė problema, trumpai apţvelgiama jos raida. Pirmame skyriuje apibrėţiama dokumentinė ir socialinė dokumentinė fotografija. Šių dviejų teorinių apybraiţų pagalba yra apibrėţiama socialinio portreto sąvoka, kadangi socialinis portretas iš esmės yra neatskiriama socialinės dokumentinės, o todėl ir dokumentinės fotografijos dalis. Išskiriami socialinio portreto bruoţai remiantis ankstyvaisiais socialinės dokumentinės fotografijos kūrėjų darbais. Antrame skyriuje aptariamas socialinis portretas pasirinkto socialinės dokumentinės fotografijos atstovo, Antano Sutkaus, kūryboje. Nagrinėjamas šio autoriaus portretų psichologiškumas bei braiţas, taip pat tokį braiţą įtakoję veiksniai, paminėti pirmąjame skyriuje. Trečiame skyriuje kalbama apie kūrybinį darba, fotografijų serija „Nebūtini“. Pirmiausiai aptariamos ir pagrįstai sugretinamos benamio ir elgetos sąvokos šio darbo kontekste, tuomet... [toliau žr. visą tekstą] / Naryškin Romanas, Social portrait in Lithuanian photography, photographic series „The Unnecessary“. Closing Bachelor„s work of multimedia art studies / lecturer A. Uogintas; Šiauliai University, Faculty of Arts, Art Department. Šiauliai 2014, 43 pages. In this Bachelor„s work the author is looking into social portrait photography by first of all discussing documentary photography, and then social-documentary photography as social portraiture is an inseparable part of these two similar genres. Further on the origins of social documentary photography is discussed based on M. Matulytė„s theoretical work on the subject. For the creative part of the work, a specific group of social isolation is chosen (homeless people) and its relevance as that of a social problem is explained with a short overview of the development of the said social problem. The first part touches the suject of both documentary and social documentary photography as a context for the theory on social portraiture, definition of which is then based on the mentioned genres. The similarities and differences between the genres are pointed out. The second part contains an overview of social-psichological portraiture in the works of Antanas Sutkus with detailed analysis of the psichological aspect of his portraits as well as general features peviously described in the social portrait definition. The third part is dedicated to the creative project of the Bachelor„s work. Choice of subject is explained through short... [to full text]

La recerca que es presenta aborda la capacitat discursiva de la fotografia, delimitant uns usos concrets del mitjà fotogràfic i analitzant algunes exposicions que es qüestionen la fotografia que parla de l’home en relació amb el seu context social. És per aquest motiu que la investigació pren com a centre d’interès "The Family of Man", exposició fotogràfica de gran rellevància quant a la idea de projecte, quant al procés de gestió de les imatges, i quant a la recepció pública. Comissariada per Edward Steichen, es va inaugurar al Museu d'Art Modern de Nova York l’any 1955. Del seu estudi se’n conclou que es tracta d’un cas paradigmàtic de model expositiu fotogràfic que aglutinava molts dels aspectes que s’han debatut i es debaten encara al voltant de la fotografia, de l’art, i de llurs implicacions socials. En la recerca es circumscriuen els temes de reflexió més rellevants i s’observa com es presenten aquests en algunes exposicions o actituds artístiques de finals del segle XX, principis del XXI, les actituds reflexives i crítiques dels autors de les quals semblen revelar directament o indirecta, l’herència dels propòsits del fotògraf E. Steichen, artífex representatiu d’un corrent en la producció fotogràfica que procura conciliar l’art i la vida comuna. La revisió i l’anàlisi d’exhibicions perfilen el què ha canviat en la fotografia pel que fa a la percepció i representació de l’home i les seves relacions socials, i com aquests canvis s’han emmirallat en les diverses manifestacions artístiques contemporànies sobre l’home. Així mateix, el recorregut per les obres i el temps deixen paleses algunes de les modificacions que des dels anys cinquanta han esdevingut respecte a la concepció i comprensió de la imatge fotogràfica en el context de l’art. / This research address the discursive capacity of photography, delimiting specific uses of the photographic medium and analyzing some exhibitions that question the photography that speaks about mankind in relation to its social context. It is for this reason that research takes as its focus of interest The Family of Man photographic exhibition of great relevance attending to the idea of the project, the management of the pictures, and in terms of public reception. Curated by Edward Steichen, was opened at the Museum of Modern Art in New York in 1955. Its study concludes that it is a paradigmatic case of model photography exhibition that brings together many of the issues being and discussed even now around the photography, art, and their social implications. The research reflects the highlights that are shown in some exhibitions and in several artistic attitudes of the late twentieth and twenty-first centuries, and also the critical and reflective attitudes of the authors which seem to reveal directly or indirectly, the inheritance of the purposes of the photographer E. Steichen, the most representative artifex of a photographic movement that tries to reconcile art and common daily life. The review and the analysis of exhibitions outline what has changed in the photography attending to the perception and representation of men and their social relationships, and how these changes have been mirrored in several contemporary art demonstrations about mankind. Likewise studying the works through the time reveals some of the changes that have occurred since the fifties about the conception and understanding of the photographic image in the context of art.

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A tese investiga as dinâmicas da imagem fotográfica presentes na poética do artista brasileiro Miguel Rio Branco. Para isso, a sua trajetória é pesquisada tendo como objetos de análise seus livros Dulce Sudor Amargo (1985), Nakta (1996) e Silent Book (1998), e o filme Nada Levarei quando Morrer Aqueles que Mim Deve Cobrarei no Inferno (sic), realizado em 1981. Tais obras são eixos que permitem compreender a lida complexa que o artista mantém com as noções de tempo, percepção e realidade. Nesse processo, a fotografia desempenha um papel instigante na reestruturação do objeto percebido enquanto fenômeno em um mundo compreendido pela imagem. Ao trabalhar a imagem fotográfica com aparente procedimento direto na captação do objeto, Miguel Rio Branco não se detém no objeto ou assunto, mas extrai dele sua possibilidade de expressão, entre as marcas indiciais e as representações simbólicas. Essa intervenção do artista imprime ao objeto outra condição: misto de sua presença física no mundo e uma natureza distinta, revelada na imagem. Suas construções narrativas, observadas a partir da produção de seus livros e da sua relação com as estéticas do cinema, serão analisadas como elementos singulares para contribuição do debate sobre fotografia no campo da arte. Proponho investigar a instabilidade do signo fotográfico no conceito histórico da fotografia documental na arte, tendo como parâmetro o trabalho do artista, suas motivações de ruptura com a tradição do documento e a constituição de sua poética entre as décadas de 1970 e 1990. / The dissertation investigates the dynamics of the photographic image present in the poetics of Brazilian artist Miguel Rio Branco. For such, I examine his trajectory through analytical objects: the books \"Dulce Sudor Amargo\"(1985), \"Nakta\" (1996), and \"Silent Book\" (1998), as well as the movie \"Nada levarei quando morrer aqueles que mim deve cobrarei no inferno\" (sic) or, in English \"I shall take nothing when those die who owe me will charge in hell\" (sic) made in 1981. These works are axes that allow the comprehension of the artist\'s complex handling of the notions of time, perception, and reality. In this process photography plays a thought-provoking role in restructuring the perceived object as a phenomenon in a world understood through the image. When Miguel Rio Branco works the photographic image with an apparently direct procedure for capturing the object, he does not only focus on the object or subject, but draws their entire possibility of expression, between the indexical marks and symbolic representations. This intervention imprints another condition on the object: a mix of its physical presence in the world and a distinct nature, revealed in the image. His narrative constructions, observed in the production of his books and his relationship with the cinema\'s aesthetics, will be analyzed as unique elements that contribute with the photography debate in the field of Arts. I propose the investigation of the instability of the photographic sign within the historical concept of documentary photography in the arts. As a parameter, I adopt the artist\'s work, his motivations for relinquishing the documentary tradition, and the constitution of his poetics between the decades of 1970 and 1990.