Transparencies: New Zealand from 1953 to 1974 through the Slide Photography of Gladys Cunningham This thesis focuses on the amateur slide photography of Gladys Cunningham, formerly of Onehunga, Auckland. Viewed collectively, these slides provide a visual autobiography of a New Zealand woman’s life, as well as a larger social narrative. As Gladys’s granddaughter, I argue that Gladys’s 35mm colour transparencies, nostalgic fragments that memorialise a family history, are informed by the social history of European New Zealanders between the early 1950s and early 1970s. Gladys’s slides reflect stabilities and changes for the photographer herself, her family and New Zealand society. While the term “transparency” suggests that the meaning of a slide can be understood by all, in reality further contextual information is necessary to appreciate the family and public histories from which these scenes have been separated. To situate Gladys’s slides, I refer to popular magazines and tourist texts from this period, including The Weekly News, National Geographic and New Zealand Holiday, and to commercial slides, postcards and travel marketing texts. I analyse the near absence of Maori within Gladys’s slides and travel journalism, suggesting that their omissions represent a lack of dialogue between Pakeha and Maori. In New Zealand and overseas, slide photography was the popular medium for recording extraordinary family events during the 1950 and 1960s. Through an analysis of memory, leisure and photography, this study examines how Gladys’s photography documents family and community membership and celebration. I explore how aesthetically pleasing representations of family leisure also contain partly concealed clues to less positive memories and to secrets that were not unique to this family. I discuss the impact of private and public transport on Gladys’s slide photography, noting how car travel facilitated spatial and temporal freedoms, and how slide photography strengthened connections to extended family and distant communities. In contrast, Gladys and Jim’s later dependence on coach transport enhanced their ability to take slides and expanded the “family” gaze of their camera, but limited their photographic opportunities.

This dissertation examines how Philippine (or Filipino) authors emphasise the need for articulating or “re/membering” cultural identity. The researcher mainly draws from the theory of Caribbean critic, Stuart Hall, who views cultural identity as an articulation which allows “the fragmented, decentred human agent” to be considered as one who is both “subject-ed” by power but/and one who is capable of acting against those powers (Grossberg 1996 [1986]: 157, emphasis mine). Applied to the Philippine context, this writer argues that, instead of viewing an apparent fragmented Filipino identity as a hindrance to “defining” cultural identity, she views the “damaged” (Fallows 1987) Filipino history as a the material itself which allows articulation of identity. Instead of reducing the cultural identity of a people to what-they-could-have-been-had-history-not-intervened, she puts forward a vision of identity which attempts to transfigure these “damages” through the efforts of coming-to-terms with history. While this point of view has already been shared by other critics (such as Feria 1991 or Dalisay 1998:145), the author’s contribution lies in presenting re/membering to describe a specific type of articulation which neither permits one to deny wounds of the past nor stagnate in them. Moreover, re/membering allows one to understand continuous re-articulations of “new” identities (due to current migration), while putting an “arbitrary closure” (Hall) to simplistic re-articulations which may only further the “lines of tendential forces” (such as black or brown skin bias) or hegemonic practices. Written as such (with a slash),“re/membering” encapsulates the following three-fold meaning: (1) a “re-membering”, to indicate “a putting together of the dismembered past to make sense of the trauma of the present” (Bhabha 1994:63); as (2) a “re-membering” or a re-integration into a group and; as (3) “remembering” which implies possessing “memory or … set [ting] off in search of a memory” (Ricoeur 2004:4). As a morphological unit, “re/membering” designates, the ways in which Filipino authors try to articulate cultural identity through the routes of colonisation, migration and dictatorship. The authors studied in this thesis include: Carlos Bulosan, Bienvenido Santos, N.V.M. Gonzalez, Nick Joaquin, Frank Sionil José, Ninotchka Rosca, Jessica Hagedorn, and Merlinda Bobis. Sixty-years separate Bulosan’s America is in the Heart (1943) from Hagedorn’s Dream Jungle (2003). Analysis of these works reveals how articulation is both difficult and hopeful. On the one hand, authors criticize the lack of efforts and seriousness towards articulation of cultural identity as re/membering (coming to terms with the past, fostering belonging and cultivating memory). Not only is re/membering challenged by double-consciousness (Du Bois 1994), dismemberment and forgetting, moreover, its necessity is likewise hard to recognize because of pain, trauma, phenomena of splitting, escapist attitudes and preferences for a “comfortable captivity”. On the other hand, re/membering can also be described as hopeful by the way authors themselves make use of literature to articulate identity through research, dialogue, time, reconciliation and re-creation. Although painstaking and difficult, re/membering is important and necessary because what is at stake is an articulated Philippine cultural identity. However, who would be prepared to make the effort? ------ Cette thèse démontre que, pour les auteurs philippins, l’articulation ou « re/membering » l'identité culturelle, est nécessaire. Le chercheur s'appuie principalement sur la théorie de Stuart Hall, qui perçoit l'identité culturelle comme une articulation qui permet de considérer l’homme assujetti capable aussi d'agir contre des pouvoirs (cf. Grossberg 1996 [1986]: 157). Appliquée au contexte philippin, cet auteur soutient que, au lieu de la visualisation d'une identité fragmentée apparente comme un obstacle à une « définition » de l'identité culturelle, elle regarde l’histoire philippine «abîmée» (Fallows 1987) comme le matériel même qui permet l'articulation d’identité. Au lieu de réduire l'identité culturelle d'un peuple à ce qu’ ils auraint pû être avant les interventions de l’histoire, elle met en avant une vision de l'identité qui cherche à transfigurer ces "dommages" par un travail d’acceptation avec l'histoire. Bien que ce point de vue a déjà été partagé par d'autres critiques (tels que Feria 1991 ou Dalisay 1998:145), la contribution de l'auteur réside dans la présentation de « re/membering » pour décrire un type d'articulation sans refouler les plaies du passé, mais sans stagner en elles non plus. De plus, « re/membering » permet de comprendre de futures articulations de « nouvelles » identités culturelles (en raison de la migration en cours), tout en mettant une «fermeture arbitraire» (Hall) aux ré-articulations simplistes qui ne font que promouvoir des “lines of tendential forces” (Hall) (tels que des préjugés sur la couleur brune ou noire de peau) ou des pratiques hégémoniques. Rédigé en tant que telle (avec /), « re/membering » comporte une triple signification: (1) une «re-membering », pour indiquer une mise ensemble d’un passé fragmenté pour donner un sens au traumatisme du présent (cf. Bhabha, 1994:63); (2) une «re-membering» ou une ré-intégration dans un groupe et finalement, comme (3)"remembering", qui suppose la possession de mémoire ou une recherche d'une mémoire »(Ricoeur 2004:4). Comme unité morphologique, « re/membering » désigne la manière dont les auteurs philippins tentent d'articuler l'identité culturelle à travers les routes de la colonisation, les migrations et la dictature. Les auteurs inclus dans cette thèse sont: Carlos Bulosan, Bienvenido Santos, NVM Gonzalez, Nick Joaquin, Frank Sionil José, Ninotchka Rosca, Jessica Hagedorn, et Merlinda Bobis. Soixante ans séparent America is in the Heart (1943) du Bulosan et le Dream Jungle (2003) du Hagedorn. L'analyse de ces œuvres révèle la façon dont l'articulation est à la fois difficile et pleine d'espoir. D'une part, les auteurs critiquent le manque d'efforts envers l'articulation en tant que « re/membering » (confrontation avec le passé, reconnaissance de l'appartenance et cultivation de la mémoire). Non seulement est « re/membering » heurté par le double conscience (Du Bois 1994), le démembrement et l'oubli, en outre, sa nécessité est également difficile à reconnaître en raison de la douleur, les traumatismes, les phénomènes de scission, les attitudes et les préférences d'évasion pour une captivité "confortable" . En même temps, « re/membering » peut également être décrit comme plein d'espoir par la façon dont les auteurs eux-mêmes utilisent la littérature pour articuler l'identité à travers la recherche, le dialogue, la durée, la réconciliation et la re-création. Bien que laborieux et difficile, « re/membering » est important et nécessaire car ce qui est en jeu, c'est une identité culturelle articulée des Philippines. Mais qui serait prêt à l'effort?

Text in English, with abstracts and keywords in English, Zulu and Xhosa / Link to the dataset (catalogue): https://doi.org/10.25399/UnisaData.14101913.v1 / Digital image editing is rooted in the analog practices of photographic retouching from the late nineteenth century. This study interrogated how novel contributions of new media practice can inform understanding of the relationship between digital and analog media. The study also sought to explore new conceptual avenues in the creation of digital art that incorporates key aspects of both new and traditional media. This study employed a literature review of selected discourses related to new media studies. Specifically, the work of scholars Lev Manovich, Jay David Bolter, Richard Grusin, and Filipe Pais on the interplay between traditional and new media formed the cornerstone of the analysis. These discourses contextualise an analysis of several contemporary case studies of digital artists, with a particular focus on John Craig Freeman and the Oddviz collective. These works were selected for the way in which they destabilise conventional notions of digital photography in new media and the way digital content can be ‘displaced’ into a physical space. From this analysis several concepts arise that serve as distinguishing markers for media displacement. These themes include embodiment, memory, identity formation, autotopography, and intermediality. The dissertation concludes with an overview of my work that incorporates the concepts derived from my analysis of the case studies. It discusses how my exhibition Digital Tourist, a mixed media installation, makes use of photogrammetry and AR to displace the private connections of an individual life into the public space of the gallery. / Ukuhlelwa kwezithombe zezindaba zedijithali kususelwe emikhubeni ye-analokhu yokuthwebula kabusha izithombe kusukela ngasekupheleni kwekhulu leshumi nesishiyagalolunye leminyaka.. Lolu cwaningo luphenye ukuthi iminikelo yenoveli emisha yokwenziwa kwezezindaba ezintsha zingakwazisa kanjani ukuqonda kobudlelwano phakathi kwezindaba zedijithali ne-analokhu. Ucwaningo luphinde lwafuna ukubheka izindlela ezintsha zomqondo ekwakhiweni kobuciko bedijithali obufaka izinndaba ezibalulekile kokubili kwezokuxhumana nezendabuko ezintsha. Izinkulumo ezikhethiwe ezihlobene nezifundo zezindaba ezintsha zibuyekeziwe. Ngokuqondile, umsebenzi wezazi uLev Manovich, Jay David Bolter, Richard Grusin noFilipe Pais ekusebenzisaneni phakathi kwabezindaba bendabuko nabasha kwakha okuzobhekwa ngqo uma kuhlaziywa. Lezi zinkulumo zigxila ekuhlaziyweni kwezifundo zamanje zamaciko edijithali, kugxilwe kakhulu kuJohn Craig Freeman kanye neqoqo le-Oddviz. Le misebenzi yakhethwa ngendlela yokuthi ingazinzisi imiqondo ejwayelekile yokuthwebula izithombe zedijithali emithonjeni emisha kanye nokuthi okuqukethwe kwedijithali "kungahanjiswa kanjani" endaweni ebonakalayo. Ukusuka kulokhu kuhlaziywa kuvela imiqondo eminingana esebenza njengezimpawu ezihlukanisayo zokufuduswa kwabezindaba. Lezi zingqikithi zifaka phakathi ukwakheka, inkumbulo, ukwakheka kobunikazi, ukuziphendulela kanye nokuzibandakanya. Idezetheyishini iphetha ngokubuka konke ngomsebenzi wami ohlanganisa imiqondo esuselwe ekuhlaziyweni kwami kwezifundo zocwaningo. Ingxoxo ihlanganisa ukuthi umbukiso wami we-Zivakashi zeDijithali, ukufakwa kwabezindaba okuxubile, isebenzisa uhlelo lokuthwebula olusebenzisa ulimi noma ifothogrametri ne-AR ukukhipha ukuxhumana kwangasese kwempilo yomuntu ngamunye endaweni yomphakathi yegalari. / Ukuhlela imifanekiso yedijithali yinkqubo eyendeleyo, nowaqalwa kwiminyaka yokugqibela yenkulungwane yeshumi elinethoba, kwimisebenzi yezifaniso/yeanalogu ekuhlaziyweni kweefoto. Esi sifundo siphonononga ukuba igalelo elikhethekileyo leendlela ezintsha zonxibelelwano lwemiboniso/imidiya lingenza njani ukuqinisa ukuqonda unxulumano phakathi kwemiboniso yedijithali neyeanalogu. Kwakhona, esi sifundo sizama ukuphanda iindlela ezintsha ezisetyenziswa kubugcisa bedijithali neziquka imiba ephambili yemiboniso yale mihla neyakudala. From this analysis several concepts arise that serve as distinguishing markers for media displacement. These themes include embodiment, memory, identity formation, autotopography and intermediality. Kuphononongwe iingxoxo ezithile ezimalunga nezifundo zemiboniso yale mihla. Kuqwalaselwe ngakumbi imisebenzi yeengcali ooLev Manovich, Jay David Bolter, Richard Grusin kunye noFilipe Pais malunga nonxulumano phakathi kwemiboniso yakudala neyale mihla njengesiseko solu hlalutyo. Ezi ngxoxo zifaka emxholweni uhlalutyo lwezifundo zokuzekelisa zale mihla malunga nabazobi bale mihla, kugxininiswa kwindibanisela ka John Craig Freeman nekaOddviz. Le misebenzi ikhethwe ngenxa yokuba iyazichitha iingcinga eziqhelekileyo malunga nokufota ngedijithali kwimiboniso yale mihla nangendlela iziqulatho zedijithali “zinokushenxiswa” zisiwe kwindawo ebambekayo. Olu hlalutyo luveze iingcinga eziliqela nezisebenza njengeempawu zoshenxiso lwemiboniso. Imixholo iquka imifuziselo, ukukhumbula, ukwenziwa kwesazisi, ukuzazisa ngezinto onazo, unxulumano phakathi kwemiboniso eyahlukeneyo Le ngxelo yophando igqibela ngokushwankathela umsebenzi wam ohlanganisa iingcinga ezivele ekuhlalutyeni kwam izifundo ezingumzekelo. Ingxoxo ibonisa ukuba umboniso wengqokelela yemisebenzi yam owaziwa ngokuba yiDigital Tourist, ubusebenzise njani ubuchwepheshe ekuthiwa yifotogrametri (obokufumana ulwazi ngokuhlalutya imifanekiso) ekushenxiseni unxulumano lwabucala lobomi bomntu ibubeke kwindawo ebonwa nguwonkewonke apho kubukwa imifanekiso neefoto (igalari). / https://doi.org/10.25399/UnisaData.14101913.v1 / Arts and Music / M.A. (Visual Arts)

This dissertation examines how Philippine (or Filipino) authors emphasise the need for articulating or “re/membering” cultural identity. The researcher mainly draws from the theory of Caribbean critic, Stuart Hall, who views cultural identity as an articulation which allows “the fragmented, decentred human agent” to be considered as one who is both “subject-ed” by power but/and one who is capable of acting against those powers (Grossberg 1996 [1986]: 157, emphasis mine). Applied to the Philippine context, this writer argues that, instead of viewing an apparent fragmented Filipino identity as a hindrance to “defining” cultural identity, she views the “damaged” (Fallows 1987) Filipino history as a the material itself which allows articulation of identity. Instead of reducing the cultural identity of a people to what-they-could-have-been-had-history-not-intervened, she puts forward a vision of identity which attempts to transfigure these “damages” through the efforts of coming-to-terms with history. While this point of view has already been shared by other critics (such as Feria 1991 or Dalisay 1998:145), the author’s contribution lies in presenting re/membering to describe a specific type of articulation which neither permits one to deny wounds of the past nor stagnate in them. Moreover, re/membering allows one to understand continuous re-articulations of “new” identities (due to current migration), while putting an “arbitrary closure” (Hall) to simplistic re-articulations which may only further the “lines of tendential forces” (such as black or brown skin bias) or hegemonic practices.<p><p>Written as such (with a slash),“re/membering” encapsulates the following three-fold meaning: (1) a “re-membering”, to indicate “a putting together of the dismembered past to make sense of the trauma of the present” (Bhabha 1994:63); as (2) a “re-membering” or a re-integration into a group and; as (3) “remembering” which implies possessing “memory or … set [ting] off in search of a memory” (Ricoeur 2004:4). As a morphological unit, “re/membering” designates, the ways in which Filipino authors try to articulate cultural identity through the routes of colonisation, migration and dictatorship. <p><p>The authors studied in this thesis include: Carlos Bulosan, Bienvenido Santos, N.V.M. Gonzalez, Nick Joaquin, Frank Sionil José, Ninotchka Rosca, Jessica Hagedorn, and Merlinda Bobis. Sixty-years separate Bulosan’s America is in the Heart (1943) from Hagedorn’s Dream Jungle (2003). Analysis of these works reveals how articulation is both difficult and hopeful. On the one hand, authors criticize the lack of efforts and seriousness towards articulation of cultural identity as re/membering (coming to terms with the past, fostering belonging and cultivating memory). Not only is re/membering challenged by double-consciousness (Du Bois 1994), dismemberment and forgetting, moreover, its necessity is likewise hard to recognize because of pain, trauma, phenomena of splitting, escapist attitudes and preferences for a “comfortable captivity”. <p><p>On the other hand, re/membering can also be described as hopeful by the way authors themselves make use of literature to articulate identity through research, dialogue, time, reconciliation and re-creation. Although painstaking and difficult, re/membering is important and necessary because what is at stake is an articulated Philippine cultural identity. However, who would be prepared to make the effort?<p>------<p><p>Cette thèse démontre que, pour les auteurs philippins, l’articulation ou « re/membering » l'identité culturelle, est nécessaire. Le chercheur s'appuie principalement sur la théorie de Stuart Hall, qui perçoit l'identité culturelle comme une articulation qui permet de considérer l’homme assujetti capable aussi d'agir contre des pouvoirs (cf. Grossberg 1996 [1986]: 157). Appliquée au contexte philippin, cet auteur soutient que, au lieu de la visualisation d'une identité fragmentée apparente comme un obstacle à une « définition » de l'identité culturelle, elle regarde l’histoire philippine «abîmée» (Fallows 1987) comme le matériel même qui permet l'articulation d’identité. Au lieu de réduire l'identité culturelle d'un peuple à ce qu’ ils auraint pû être avant les interventions de l’histoire, elle met en avant une vision de l'identité qui cherche à transfigurer ces "dommages" par un travail d’acceptation avec l'histoire. <p><p>Bien que ce point de vue a déjà été partagé par d'autres critiques (tels que Feria 1991 ou Dalisay 1998:145), la contribution de l'auteur réside dans la présentation de « re/membering » pour décrire un type d'articulation sans refouler les plaies du passé, mais sans stagner en elles non plus. De plus, « re/membering » permet de comprendre de futures articulations de « nouvelles » identités culturelles (en raison de la migration en cours), tout en mettant une «fermeture arbitraire» (Hall) aux ré-articulations simplistes qui ne font que promouvoir des “lines of tendential forces” (Hall) (tels que des préjugés sur la couleur brune ou noire de peau) ou des pratiques hégémoniques.<p><p>Rédigé en tant que telle (avec /), « re/membering » comporte une triple signification: (1) une «re-membering », pour indiquer une mise ensemble d’un passé fragmenté pour donner un sens au traumatisme du présent (cf. Bhabha, 1994:63); (2) une «re-membering» ou une ré-intégration dans un groupe et finalement, comme (3)"remembering", qui suppose la possession de mémoire ou une recherche d'une mémoire »(Ricoeur 2004:4). Comme unité morphologique, « re/membering » désigne la manière dont les auteurs philippins tentent d'articuler l'identité culturelle à travers les routes de la colonisation, les migrations et la dictature. <p><p>Les auteurs inclus dans cette thèse sont: Carlos Bulosan, Bienvenido Santos, NVM Gonzalez, Nick Joaquin, Frank Sionil José, Ninotchka Rosca, Jessica Hagedorn, et Merlinda Bobis. Soixante ans séparent America is in the Heart (1943) du Bulosan et le Dream Jungle (2003) du Hagedorn. L'analyse de ces œuvres révèle la façon dont l'articulation est à la fois difficile et pleine d'espoir. D'une part, les auteurs critiquent le manque d'efforts envers l'articulation en tant que « re/membering » (confrontation avec le passé, reconnaissance de l'appartenance et cultivation de la mémoire). Non seulement est « re/membering » heurté par le double conscience (Du Bois 1994), le démembrement et l'oubli, en outre, sa nécessité est également difficile à reconnaître en raison de la douleur, les traumatismes, les phénomènes de scission, les attitudes et les préférences d'évasion pour une captivité "confortable" .<p><p>En même temps, « re/membering » peut également être décrit comme plein d'espoir par la façon dont les auteurs eux-mêmes utilisent la littérature pour articuler l'identité à travers la recherche, le dialogue, la durée, la réconciliation et la re-création. Bien que laborieux et difficile, « re/membering » est important et nécessaire car ce qui est en jeu, c'est une identité culturelle articulée des Philippines. Mais qui serait prêt à l'effort? <p> / Doctorat en Langues et lettres / info:eu-repo/semantics/nonPublished