El presente trabajo consta en analizar cómo es que uno de los elementos narrativos, en este caso la dirección de fotografía, se utiliza para contar la historia de los personajes principales de la serie “Euphoria” y, a su vez, para mostrar por medio de la imagen en movimiento, cuáles son los sentimientos por los cuales estos pasan. Es así que, en un primer momento se hablará de cómo es que la dirección de fotografía ha pasado a ser igual de importante en las series como siempre lo ha sido en las películas. Luego, para que este análisis sea más detallado, esta se ramificará en otros tres componentes que son muy utilizados dentro de esta: la iluminación, la composición y el color. Esto se hará con la intención de estudiar cómo es que estos tres elementos que trabajan conjuntamente, reflejan los problemas actuales por los cuales los adolescentes atraviesan. Es así que, junto con esta, se trabajarán también temas como, por ejemplo, el sexting, la adicción a las drogas y el cyberbullying. Problemas que, como se explicarán, son los más comunes dentro del rango de edad que cubre la adolescencia. Por tanto, con este análisis se verá que la dirección de fotografía, no solamente es para crear una atmósfera en el estilo de la serie, en este caso, sino que también se le utiliza para que los personajes hablen a través de lo que se ve en la pantalla. / The present work consists in analyzing how one of the narrative elements, in this case the photography direction, is used to tell the story of the main characters of the series "Euphoria" and, in turn, to show through the moving image, what are the feelings through which they pass. Thus, at first we will talk about how photography direction has become as important in series as it has always been in movies. Then, for this analysis to be more detailed, it will branch into three other components that are widely used within it: lighting, composition and color. This will be done with the intention of studying how these three elements that work together reflect the current problems that adolescents go through. Thus, along with this, topics such as sexting, drug addiction and cyberbullying will also be worked on. Problems that, as will be explained, are the most common within the age range covered by adolescence. Therefore, with this analysis it will be seen that the photography direction is not only to create an atmosphere in the style of the series, in this case, but it is also used so that the characters speak through what is seen. on the screen. / Trabajo de investigación

La presente investigación tiene como finalidad analizar la función estética de la dirección de fotografía de uno de los largometrajes de ficción peruanos más galardonados en la última década, se trata de la película “Retablo”, dirigida por Álvaro Delgado Aparicio. La estética fotográfica utilizada para la construcción cinematográfica de este film es objeto de estudio debido a su minucioso y audiovisualmente motivado empleo. Dentro de esta, elementos como la luz, las ópticas y los movimientos de cámara cumplen una función que permiten construir el espacio cinematográfico de “Retablo”, cuya historia narra la relación padre-hijo entre Noé y Segundo, artesanos de retablos en Ayacucho, quienes ilustran la vida laboral, costumbres e ideologías presentes en esta zona rural del Perú. A través de la puesta en escena, la puesta en cuadro, la puesta en serie y sus respectivos elementos, es posible analizar el espacio en el que transcurre la historia. / This study presents, as a final analysis, the aesthetic function of the photographic direction of one of the most gallant Peruvian fiction films in the last decade, the movie "Retablo", directed by Alvaro Delgado Aparicio. The photographic aesthetics used for the cinematographic construction of this film is the object of study debited to its subtle and audiovisually motivated work. From there, elements such as light, optics and camera movements complete a function that allows building the cinematographic space of "Retablo", which tells the story about a son and dad relationship between Noah and Segundo, retablo artists in Ayacucho, illustrate the working life, habits and ideologies in this rural area of ​​Peru. Through the staging on scene, staging on frame, staging on series and its respective elements, it is possible to analyze the space in which to trace history. The purpose of this research is to analyze the aesthetic function of the photography direction of one of the most awarded Peruvian fiction films in the last decade, it is the film “Retablo”, directed by Álvaro Delgado Aparicio. The photographic aesthetics used for the cinematographic construction of this film is the object of study due to its meticulous and audiovisual use. Within this, the light, the optics and the camera movements fulfill a function that allows the construction of the cinematographic space of the film: the father-son relationship, Noé and Segundo, artisans of altarpieces in Ayacucho. The different levels of this audiovisual project are reflected, such as the staging, the staging and the staging, which allow the analysis of the space in which the story takes place. / Trabajo de investigación

[ES] Con base en los conceptos de Pathosformel, inconsciente fotográfico y e-imagen, y por medio de una propuesta artística, este proyecto de investigación cuestiona qué efectos ejerce el inconsciente fotográfico sobre la manera de fotografiar, cómo esto se ha potencializado con las redes sociales y sus consecuencias o efectos en la construcción de la subjetividad. Al final, se muestra cómo las fotografías personales en redes sociales están basadas en esquemas predeterminados de representación, por lo que los usuarios sólo efectúan variaciones inconscientes sobre estructuras predeterminadas de representación. Así mismo, se reflexiona sobre los efectos de las redes sociales en nuestra sensibilidad hacia las fotografías. El resultado de la investigación es un cuerpo de obra que parte de la estética antivisual para proponer estrategias para recuperar la mirada y desacelerar el tiempo. La propuesta teórica es discutir cómo la e-imagen ha sido el catalizador y propagador de los efectos escópicos del inconsciente fotográfico. Contra la mirada contagiada y contra la ceguera parcial posterior a la catálisis escópica, este proyecto de investigación-creación plantea una revisión pormenorizada de la circulación y transmisión de fotografías en las redes sociales, para terminar con la presentación de un proyecto personal de producción artística, el cual parte del concepto de antivisualidad y de estrategias artísticas derivadas del arte contemporáneo post- internet. / [CA] Amb base en els conceptes de *Pathosformel, inconscient fotogràfic i i-imatge, i per mitjà d'una proposta artística, aquest projecte d'investigació qüestiona quins efectes exerceix l'inconscient fotogràfic sobre la manera de fotografiar, com això s'ha *potencializado amb les xarxes socials i les seues conseqüències o efectes en la construcció de la subjectivitat. Al final, es mostra com les fotografies personals en xarxes socials estan basades en esquemes predeterminats de representació, per la qual cosa els usuaris només efectuen variacions inconscients sobre estructures predeterminades de representació. Així mateix, es reflexiona sobre els efectes de les xarxes socials en la nostra sensibilitat cap a les fotografies. El resultat de la investigació és un cos d'obra que parteix de l'estètica antivisual per a proposar estratègies per a recuperar la mirada i desaccelerar el temps. La proposta teòrica és discutir com la i-imatge ha sigut el catalitzador i propagador dels efectes *escópicos de l'inconscient fotogràfic. Contra la mirada contagiada i contra la ceguesa parcial posterior a la catàlisi *escópica, aquest projecte d'investigació-creació planteja una revisió detallada de la circulació i transmissió de fotografies en les xarxes socials, per a acabar amb la presentació d'un projecte personal de producció artística, el qual part del concepte d'antivisualitat i d'estratègies artístiques derivades de l'art contemporani post- internet / [EN] Based on the concepts of Pathosformel, photographic unconscious and e-image, and through an artistic proposal, this research project questions what effects the photographic unconscious exerts on the way of photographing, how this has been potentiated with social networks and its consequences or effects in the construction of subjectivity. In the end, it is shown how personal photographs in social networks are based on predetermined representation schemes, so that users only make unconscious variations on predetermined representation structures. Likewise, it reflects on the effects of social networks on our sensitivity to photographs. The result of the research is a body of work that starts from anti-visual aesthetics to propose strategies to recover the gaze and slow downtime. The theoretical proposal is to discuss how the e-image has been the catalyst and propagator of the scopic effects of the photographic unconscious. Against the contagious gaze and against partial blindness after scopic catalysis, this research-creation project proposes a detailed review of the circulation and transmission of photographs on social networks, to end with the presentation of a personal project of artistic production, which starts from the concept of anti-visuality and artistic strategies derived from contemporary postinternet art / Fernández Arias, JLO. (2022). Inconsciente fotográfico e intersubjetividad digital. Propuesta artística para desacelerar el tiempo y recuperar la mirada [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/181593 / TESIS

Orientador: Laan Mendes de Barros / Resumo: Esta pesquisa busca analisar os memes políticos a partir da ótica da inserção das pessoas militantes em comportamentos coletivos e compartilhados de apoio ou oposição a candidaturas, tendo em vista o segundo turno das Eleições Presidenciais de 2018. Para tanto, constrói-se uma exploração teórica que leva em conta as transformações da sociedade em vias de midiatização, onde os processos de interação tecidos em redes são híbridos e as lógicas sociais, altamente baseadas no midiático, pois passam a levar em conta dinâmicas desse campo social sobretudo quando se observa as instituições e mobilizações políticas. O trabalho se baseia no pensamento político de Jacques Rancière (1996, 2009, 2012, 2016), para quem a política é a contestação da ordem policial que estabelece hierarquicamente lugares definidos a serem ocupados pelos indivíduos e uma partilha do sensível consensual, não se restringindo à estrutura jurídico-política de gestão dos interesses coletivos. São apresentados, então, partindo de Dawkins (2018 [1976]) e Shifman (2014), os desdobramentos investigativos que enquadram os memes como elementos dotados de sentidos que encontram nos sites de redes sociais um ambiente fecundo para se multiplicarem e serem capazes de conformar ação política. Com base, especificamente, nos memes de ação popular, caracterizados por ações coletivas performáticas com teor comportamental apropriados por essas militâncias para pautar discussões, visa-se compreender se eles instituem o que Braga (... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This research seeks to analyze the political memes from the perspective of the insertion of the militants into collective and shared behaviors of support or opposition to candidacies, in consideration of the second round of the 2018 Brazilian Presidential Election. For this, a theoretical exploration is constructed to take into account the transformations of the society in the process of mediatization, where the processes of interaction that woven into networks are hybrids and the social logics are highly based on the media since they adopt dynamics of this social field which is noted especially when observing the political institutions and mobilizations. This work is based on the political thinking of Jacques Rancière (1996, 2009, 2012, 2016), for whom politics is the contestation of the police order that establishes hierarchically defined places to be occupied by people and a consensual distribution of the sensible, not restricting itself to the juridical-political structure of management of the collective interests. Then, are presented, starting from Dawkins (2018 [1976]) and Shifman (2014), the investigative unfoldings that frame the memes as meaningful elements that find in social networking sites a fruitful environment to multiply and be able to conform political action. Based specifically on the memes grassroots action, characterized by collective performatic actions with behavioral content appropriated by these militants to guide discussions, it is sought to understan... (Complete abstract click electronic access below) / Mestre

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Urban landscape, especially parks, mainly provide a wide range of disciplines, such as physical recreation, social interaction to urban residents. It has been associated with physical features of environments and nature. Today, urban parks are perceived as far more than just recreation or scenery. Urban park also constitutes social and cultural value at city level. This study seeks to investigate and challenge how to understand landscape perception and dialog between urban park and community through the interpretation of photographic social media (Instagram). The study also draws further discussion on reciprocity between urban landscape and photography as well as environmental psychology, focusing on cognitive map and environmental meaning. It also suggests possible strategies of future urban intervention and policy, in particular, promoting well being and pro-environmental behavior.

"At Face Value: Investigating Perception through Portraiture" is a body of work that examines how people process their perception in imagery. The Deadpan Aesthetic, photographic truth and American identity are discussed, as well as the amount of influence a photographer has in his work. Since perception is defined as an understanding of setting via the senses, I hope to challenge viewers by employing strategies to destabilize the viewer's reception of my photographs.

The dissertation is devoted to the study of photographic images and their functions in the novel by Jonathan Coe “The Rain Before it Falls.” The paper describes the milestones of Coe’s formation as a writer and the main features of his style. Adhering to the English family novel genre helps to identify the impact of this tradition on the novel in question. Other objects of study include the history of creation of the novel, and the background for the use of visual means. Photographic image is analyzed from the point of ecphrasis theory. It describes the differences of structure, semantics, and functions of the pictural and photographic ecphrasis present in the novel. Understanding the nature and the functions of photographic ecphrasis proves important for delivering a reasoned interpretation of the novel “The Rain Before it Falls.” Investigation of the role of images opens up prospects for further study J.Coe’s creative work. / Диссертация посвящена исследованию функций фотографических изображений в романе Дж. Коу "Пока не выпал дождь". В работе описан творческий путь писателя и особенности его творчества. Прослеживается его связь с традициями английского семейного романа, оказавшая влияние на исследуемое произведение. Рассматривается история создания романа и предпосылки к использованию визуальных образов. Фотография анализируется с позиций теории экфрасиса. Описываются различия структуры, семантики и функций живописного и фотографического экфрасисов, присутствующих в романе. Фотографический экфрасис оказывается функционально важным для понимания романа "Пока не выпал дождь". Исследование роли изображений открывает перспективы для дальнейшего изучения творчества Дж. Коу.

Фотографический образ территории является неким представлением, видением местности, важных характеристик, представленных с помощью выразительных средств фотографии. Челябинская область как субъект Российской Федерации обладает не только сомнительным имиджем, но также и спорным фотографическим образом. Цель данного исследования состоит в анализе роли фотографического образа как эффективного фактора продвижения территории на примере Челябинской области и разработке практических рекомендаций по корректировке существующего фотографического образа региона. / The photographic image of the territory is a certain representation, vision of the area, important characteristics submitted by expressive means of photography. Chelyabinsk region as the territorial subject of the Russian Federation has not only doubtful image, also it has a disputable photographic image. The objective of this research consists in the analysis of a role of a photographic image as effective factor of promotion of the territory on the example of Chelyabinsk region and development of practical recommendations about correction of the real photographic image of the region.