Orientador: Iara Lis Schiavinatto / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-25T20:11:36Z (GMT). No. of bitstreams: 1 Aquino_LiviaAfonsode_D.pdf: 255946029 bytes, checksum: 176794ed5283231aa05740c0d9e70a27 (MD5) Previous issue date: 2014 / Resumo: Esta tese trata da fotografia do amador e sua construção histórica no campo do turismo, refletindo sobre a criação de práticas sociais e sobre as transformações na percepção da experiência da viagem. O turista-fotógrafo é sujeito que comporta tanto o turista quanto o fotógrafo amador, mas se constitui, sobretudo, no entrelaçamento entre os dois. Parte-se de uma relação entre a fotografia e o turismo operando como dispositivo, cristalizando inerente relação. Nessa direção, a Eastman Kodak Company é peça fundamental no processo de popularização da fotografia e, consequentemente, na construção dos modos de produzir, consumir e compreender imagens. Por meio da publicidade, de estratégias de negócio, da elaboração de um sistema educativo e de ampla cadeia de produção, a Kodak atua na criação de valores relativos à importância do registro da viagem e enfatiza o fato de que sua rememoração pode ser obra do amador. O turista-fotógrafo torna-se assim um sujeito produtor de parte do mundo-imagem, pelo desejo de posse e status que a fotografia e o turismo carregam, e, especialmente, pela busca de uma fotografia que está sempre a sua espera / Abstract: This thesis addresses the amateur photography and its historical construction in the tourism area, reflecting on the creation of social practices and on the transformations in the perception of the travel experience. The tourist-photographer is the subject that encompasses both the tourist and the amateur photographer, but is mainly the interlacing between both. The starting point is the relationship between photography and tourism operating as an apparatus, crystalizing their inherent relationship. In this sense, Eastman Kodak Company is a fundamental piece in the process that made photography popular and consequently in the construction of the ways to produce, consume and comprehend images. By means of advertising, business strategies, creation of an educational system and an ample production network, Kodak creates values related to the importance of recording the trip and emphasizes the fact that recalling it can be the work of an amateur. The tourist-photographer becomes then a subject that produces part of the world-image, through the wish for possession and status inherent in photography and tourism, and, especially, through the search for a picture that is always waiting to be taken. / Doutorado / Artes Visuais / Doutora em Artes Visuais

This thesis discusses the camera design development from its very beginning until present time. Methodological is based on a basic ideas of industrial design, cooperation of brands with specific designers and achieve goals of industrial design. In the beginning, I am trying to find a breakpoint in thinking about the cameras, moment of not-only light-sensitive material development, but also adding of new ideas of camera ergonomics, the functional elements of the marking symbol or extra aesthetic value and mapping the effects and conditions to which it was formed. It contains substantial cooperation with world famous brands (Kodak, Leica, Hasselblad, Pentax ...), their theoretical basis and problems, concerning media images linked to the samples as well.

Photography is inherently technological, based as it is on intricate chemical processes. George Eastman famously created the conventional photographic system, making the technology widely available to a mass market. Using the systems approach, I show how the Eastman Kodak Company consolidated critical photographic technologies through acquisition and research in the beginning of the twentieth century. Once the company achieved predominance in the industry, it set about expanding its markets. However, as the non-chemical elements of the technology advanced in the 1970s and beyond, the market changed. At the same time, foreign competitors matched and even surpassed Kodak's production efficiencies, threatening the company as never before. Just as Kodak began facing serious price competition in the 1980s for the first time in decades, electronics manufacturers introduced video camcorders and, later, digital still cameras. Dismissed by Kodak managers as inferior, the radical technology advanced far more rapidly than Kodak's chemical research. Computers in particular guided consumers to embrace new values, emphasizing a means of imaging that the conventional system could not match. Eastman Kodak's success with the older system created a protective mindset that led its managers to focus very narrowly on the survival of film. They viewed the new competitive landscape skeptically, and as a result they stifled innovation and prevented the company from aggressively competing in emerging technologies. / Master of Science

The dissertation examines how image-making, a common pastime, was made common. It investigates the ways in which the production and consumption of images in the context of the North American family contributed to the development of a distinctly domestic and privatized visual culture, and the transformation of the home into a site for privatized spectatorship. / Four cultural forms (No. 1 Kodak, Box Brownie, Cine Kodak and Cine Kodak 8) are specified in this development, all pioneered by the Eastman Kodak Company. The dissertation traces Eastman Kodak's direct involvement in the popularization of image practices. It analyzes strategies used by them to make this possible, namely an appeal to the becoming lifestyles of the bourgeois and middle-classes. / The analysis links the popularization of image-making and consuming practices to other popular amusements (i.e. cycling, cinema-going) to work against an artifact-centred analysis. Issues of gender and generation are critically evaluated as concepts used to instill image-making as a popular, family practice. Shifts in modern temporal and spatial experience, as well as mobility are also explored in relation to popular image-making.

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Within the accepted historiography of photography, the importance of George Eastman and the Eastman Kodak Company (EKC) has become unassailable. They have been placed as the key, and often sole, agent in “revolutionizing” the amateur photography market in the late nineteenth century. While the photographic landscape and market of 1885-1914 was indeed radically altered, the historiographical dominance of what can be identified as the “Kodak story” has obscured the means through which EKC’s successful re-structuring of the existing manufacturing and distribution networks of photographic materials occurred. I argue that the changes effected by Eastman and the EKC began not with imaging desires, but with their acknowledgment, and profound understanding of the existing and competing interests within the photographic industry. This thesis focuses on the EKC’s re-structuring of the extant and evolving communities involved in the manufacturing and distribution of photographic materials in Canada between 1885-1910. Focusing particularly on the period immediately surrounding the establishment of the Canadian Kodak Co. Limited in 1899, I demonstrate the re-structuring processes at work, including: market and financial diversification; governmental lobbying; purchase and mergers; and other business and marketing-based strategies. I frame my theoretical positions and analysis of network re-structuring through the experiences of Ottawa professional photographer and photographic business owner William James Topley (active 1868-1907), and CKCoLtd manager John Garrison Palmer (active 1886-1921). Topley and Garrison’s professional experiences and interactions with expanded communities of photographic consumers and industry participants provide an opportunity for specific and detailed findings which challenge understandings of the evolution of the practice of photography during this transitional period. In doing so, I provide evidence of the primary role network re-structuring played in the EKC’s ability to shape the wider international photographic industry to their advantage in the early twentieth century.