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Race, ethnicity and culture have been a central theme in South African history, and while not disregarding the recent socio-political changes, many South Africans of different races continue to lead essentially different lives. Public schools are becoming more racially and culturally integrated and it is important that this leads to incisive change and not merely altering the racial demographics of the learner and educator bodies. Culture in South Africa is dynamic and the values and norms of members of a particular group are in a state of flux. Moreover, the shift from a traditional teacher-centred curriculum to an outcomes-based curriculum in South African education means that the teacher is encouraged to accept each learner in the culturally diverse classroom as an individual, who brings a unique life experience into the classroom and contributes to learning in the context. The learner's cultural background, family and community should be considered in both the selection of learning material and in classroom interaction. This study investigates the South African adolescent's perspective of culture by means of a literature review, a photographic essay and an empirical investigation using a combination of qualitative and quantitative approaches. The literature review expanded on the concepts of race, culture and ethnicity. Topics relating to the life in Johannesburg that adolescents perceived as significant were commented on in the photographic essay. Thereafter, adolescent learners from two ex-model C schools in Johannesburg were selected as participants in the empirical research. The quantitative research considered aspects such as learner prejudice, ethnic group preference and the value attached to cultural traditions using questionnaires and sociograms as data gathering methods. The qualitative phase used focus group discussions using as a stimulus a posed photograph of a racially diverse group of learners engaged in a group activity. Learners were selected, for the focus discussion groups, on the basis of the results of the sociogram used in the quantitative phase. Findings showed that learners regard diversity as a resource although evidence suggests that black learners are moving away from traditional cultural practices. Based on the findings of the literature study and the empirical inquiry recommendations for the improvement of practice are made. / Educational Studies / D. Ed. (Socio-Education)

The master thesis "Zikmund Reach and his photographic collection" focuses on Zikmund Reach's photographs of old Prague. Firstly theis describes the life and familly of the publisher and follows by gradual work of an publisher. The subsequent chapter focuses on photography as a commodity and presents briefly life and work poof a French photographer Eugène Atget. The next part of the thesis devotes on the main photographic topics of the work od Zikmund Reach including an extensive collection of "Prague types" which is a sociological reflecion of society in the second half of 19th century compared with a similar collection of "Viennies types". The main topic is based on the photographic albums of "Disappeared Prague" which aren't known yet. In conclusion the thesis focuses on archives in which the collection of Zikmund Reach is stored in and their mutual thematic coherence.

The master thesis "Zikmund Reach and his photographic collection" focuses on Zikmund Reach's photographs of old Prague. Firsty theis describes the history of Czech photography, which if followed by the topic of Prague's redevelopment and its influence on photography. The main topic is based on the photographic albums of "Disappeared Prague" and a extensive collection of "Prague types", which is a period, sociological reflecion of society in the second half of 19th century. Finally the thesis focuses on archives in which is the collection of Zikmund Reach stored in and their mutual thematic coherence. In conclusion the thesis focuses on the Institute of Art History Academy of Sciences of the Czech Republic and its collection of photographs which come from the collection of Zikmund Reach.

Eli Lotar décède en 1969 à Paris après avoir poursuivi une longue et difficile carrière de photographe et de cinéaste. Alors qu’il fait partie des pionniers de la Nouvelle Vision photographique française aux côtés de Germaine Krull, il faut attendre 1993 pour qu’une première exposition monographique posthume lui soit consacrée par le musée national d’art moderne-Centre Pompidou. Entre temps, son documentaire Aubervilliers (1945) et son travail de directeur de la photographie auprès de Luis Buñuel et d’Alberto Cavalcanti lui ont assuré une solide réputation dans les milieux cinéphiles après la Seconde Guerre mondiale.Son identité de photographe moderne prend quant à elle plus de temps à se forger. En parallèle de cette réévaluation initiée à la fin des années 1970, dans le champ des études sur le surréalisme la série des Abattoirs de la Villette qu’il publiait dans la revue Documents (1929) lui permet de faire son entrée dans le panthéon visuel du mouvement d’avant-garde.Le surréalisme, le cinéma d’avant-garde, la Nouvelle Vision : Lotar a livré dans chacun de ces champs des images emblématiques tout en demeurant, encore aujourd’hui, une figure opaque et complexe. À partir de sources inédites, cette étude se propose d’envisager son parcours d’une part dans le réseau élargi des avant-gardes parisiennes et européennes, d’autre part à l’aune de sa deuxième identité, celle de cinéaste et de cinéphile. Sujet marginal dans le champ des études de l’entre-deux-guerres photographique française, ces rapports de la photo et du cinéma fondent, en partie, le nouveau paradigme visuel moderniste de l’époque dont Eli Lotar serait l’une des figures exemplaires à Paris. / Eli Lotar passed away in Paris in 1969 after a long but low-key career as a photographer and filmmaker. While one of the pioneers of the New Vision in France alongside Germaine Krull, one has to wait year 1993 for a first solo show to be devoted by the Centre Pompidou. Meanwhile, his documentary Aubervilliers (1945) and his work as director of photography with Luis Buñuel and Alberto Cavalcanti ensured him a solid reputation in cinephile circles after the Second World War.His identity as a modern photographer, on the other hand, takes more time to take shape. In parallel with this revaluation initiated in the late 1970s, in the field of studies on surrealism, the series of the Abattoirs de la Villette he published in the review Documents (1929) allows him to become one of the icons of the avant-garde.Surrealism, avant-garde cinema, New Vision: Lotar delivered in each of these fields iconic images while he remains an opaque and complex figure. From unpublished sources, this study proposes to consider his career the one hand into the expanded network of Parisian and European avant-garde, the other in the light of its second identity as a filmmaker and cinephile. Peripheral subject in the field of studies of inter-war French photography, links between photography and cinema partly establish the new modernist visual paradigm of the era whose Eli Lotar would be one of the exemplary figures in Paris.

Made available in DSpace on 2016-04-27T17:27:27Z (GMT). No. of bitstreams: 1 Edison Silvestre Petenussi Silva.pdf: 3671113 bytes, checksum: 0213ca62fbae90f771744562024b91bb (MD5) Previous issue date: 2009-04-30 / This present work has as objective a discussion about the statute of photographic image, its uses and characteristics from an analysis of the work of plastic artist Rosângela Rennó and from the approach of two philosophers, Walter Benjamin and Roland Barthes. It was presented a brief historic of the birth of photography and after, an introduction of the ideas of Walter Benjamin, specially his considerations about the work of art and its technical reproduction. Subsequently, it was introduced the considerations about photography developed by French philosopher Roland Barthes in his famous book Camera Lucida . It was examined the work of plastic artist Rosângela Rennó in the light of these philosopher s works. The analysis is about a specific work, Bibliotheca a compiled images redeemed by artist and reused as support for the development of her artistic universe. The issue of photography as a possibility of memory rescue, the massification of photographic images and the appropriation of existing images resignified in the art guided this dissertation / O presente trabalho possui como objetivo a discussão sobre o estatuto da imagem fotográfica, seus usos e características a partir da análise da obra da artista plástica Rosângela Rennó e das abordagens de dois pensadores, Walter Benjamin e Roland Barthes. Tratamos inicialmente de um breve histórico do nascimento da fotografia e posteriormente uma introdução ao pensamento de Walter Benjamin, especialmente suas considerações acerca da obra de arte e sua técnica de reprodução. Posteriormente a isso introduzimos as considerações sobre fotografia elaboradas pelo pensador francês Roland Barthes em seu célebre livro A Câmara Clara . Examinamos a obra da artista plástica Rosângela Rennó sob a luz das teorias dos pensadores em questão. A análise destina-se a uma obra específica, a Bibliotheca , um compilado de imagens resgatadas pela artista e reutilizadas como suporte para o desenvolvimento do seu universo artístico. A questão da fotografia como possibilidade de resgate da memória, a massificação das imagens fotográficas e a apropriação de imagens existentes ressignificadas na arte pautam a presente dissertação

Nous partons du constat de l’importance de l’image dans le processus d’anthropogénèse, car la fixité de l’image se dévoile comme une médiation temporelle, c’est-à-dire, comme la création d’un temps rapporté médiatisant notre rapport au réel et transgressant par là notre champ perceptif. À ce titre, l’histoire de l’image apparaît comme le développement de divers modèles eidétiques statiques qui vont être en négociation et relation permanente avec les modèles eidétiques dynamiques : le langage, les gestes, l’outillage, la musique, la danse, l’habitat ; modèles qui en contrepartie sont des médiations nous permettant d’investir l’espace et de le délimiter. L’interpénétration des deux types de modèles, dynamiques et statiques, constituerait, dans la pléthore et la diversité d’éléments composant chaque culture, le caractère définissant l’homme comme animal politique. C’est ainsi que l’on a pu discerner une différence ontologique lors de l’apparition de la trace photographique, trace résultant, non d’une idéalisation formelle et symbolique, mais de l’idéalisation d’une distance, à partir de laquelle se matérialise l’écran en articulant le regard depuis une nouvelle échelle opératoire. L’apport essentiel de l’image serait entré donc dans une nouvelle phase qui, au bout de presque deux siècles, aurait transformé l’homme en animal médiatique. C’est là que l’histoire de la nouvelle trace, sous l’essor de la technologie numérique, centre tout enjeu politique dans sa manifestation la plus conséquente, celle de l’expression cinématographique.Dans ce cadre nous avons abordé et privilégié une histoire du cinéma à des moments où celle-ci développe des enjeux spécifiques dans son rapport au réel, comme notamment dans l’exemple de l’œuvre du cinéaste mexicain Téo Hernández, réalisée pour l’essentiel en Europe entre 1968 et 1992. Sa forte dimension phénoménologique, l’importance du corps dans l’acte de filmer, tout autant que sa fine réflexion sur le médium et son rapport au réel, nous ont fournit une clé de voûte nous permettant de comprendre les grands changements médiatiques qui sont survenus dans les années 80, et qui ont déterminé le regard politique du monde actuel. / We begin by observing the importance of the image in the anthropogenesis’ process because the fixed image reveals temporal mediation, namely, the creation of reported time, mediatizing our relation to the real and thus, transgressing our fields of the perceptual. On this basis, the image’s history appears as a development of various static eidetic models that are going to be in a negotiation and permanent relationship with dynamic eidetic models: language, gestures, equipment, music, dance, the habitat; models that, in return, are mediations enabling us to invest the space and divide it up. The intermingling of the dynamic and static models would constitute the character defining man as a political animal, in the myriad and diversity of the elements that are components for each culture. That is how we are able to detect an ontological difference at the time when the photographic trace appears, a trace not resulting from a formal, symbolic idealization but from an idealization of distance, from which the screen materializes by articulating the eye from a new operative scale. The image’s essential contribution would thus have entered a new phase that would have transformed man into a media animal after almost two centuries. That is where the history of the new trace becomes the core of all political issues in its most consistent manifestation, under the surge of digital technology, that of cinematographic expression.In doing so, we have addressed and favoured one of cinema’s histories at a time when there was a development of specific issues in relation to the real, notably using the work of a Mexican filmmaker, Téo Hernández, mainly done in Europe between 1968 and 1992 as an example. Its powerful phenomenological dimensions — the importance of the body while filming — and also the deep reflexion on the medium and its relation to the real, have provided us with a keystone that enables us to understand the major changes in media that happened during the 1980s and determined the political outlook of the world today.

The Douglas Summerland Collection is a fictional "monographically based history"1. In essence this research is concerned with the current debates about history recording, authenticity of the photograph, methods of history construction and how the audience digests new 'knowledge'. The narrative for this body of work is drawn from a small album of maritime photographs discovered in 2004 within the archives of the Port Chalmers Regional Maritime Museum in New Zealand. The album contains vernacular images of life onboard several sailing ships from the nineteenth and twentieth centuries, including the DH Sterling and the William Mitchell. Through investigating the'truth' systems promoted by the photograph within the presentations of histories this research draws a link between the development of colonialism and the perception of photography. It also deliberates on how 'truth' perception is still a major part of an audience's knowledge base. 1. Anne-Marie Willis Picturing Australia: A History of Photography, Angus & Robertson Publishers, London. 1988:253

My work uses process as a course of action that marks the death of moments through a continuous stream of consciousness. I metaphorically link disparate pieces of information to the human condition in order to present multiple readings through juxtaposition. I assemble both abstract and figurative subject matter in a collage-like manner through methods of cropping and fragmentation to symbolize the disjuncture I feel is indicative of how we experience the world through short-lived thoughts, feelings, and actions.