This research explores the second-level agenda-setting effects of news photographs and news stories, separately and when presented together. The tone of photos and stories each independently influence public opinion on an affective level. Negative stories and photographs elicited negative opinions and emotions about the issue presented, while positive responses resulted from positive stories and photographs. When congruently toned stories and photos were presented together their affective agenda-setting effects were amplified. Positive stories paired with positive photos created stronger positive affect than negative stories and photos, which precipitated a strong negative response. However, because of the negativity bias, no significant differences were found between negative stories paired with negative photos and negative stories with positive photos. Audiences felt negative, regardless of the valence of the photo. When stories and photos were of incongruent tone, the audience's opinion about the issue followed the tone of the story. Findings from this study also confirmed that need for orientation was not a component of second-level agenda setting. However, a relationship was established between need for orientation and elaboration. Those with high need for orientation were more likely to process the information deeply than those with low need for orientation, thereby drawing ties between agenda-setting theory and the Elaboration Likelihood Model. / text

These photographs offer illustrations of the people, places, and resources of Water Bottle Canyon. These photographs were taken during the 2004 Traditional Cultural Property Study.

This article explores the roles that porcelain portraits on grave markers play in identity construction and performance. Through semi-structured interviews, the biographies of five individuals are examined and then compared to determine norms or differences regarding their views on sepulchral photographs as a form of memorialization. While the decision to display a gravestone portrait could simply be a long-standing cultural practice, this interpretivist study indicates that the role of photo-tombstones is negotiated through a hybridization process involving religious syncretism, cultural convergence, or familial expectations. The role of photography as material culture is also examined, both as a metonymic replacement for the deceased and for its links to memory recall and remembrance.

Photographs traverse the world in many forms and for many purposes. They follow and trace movements and networks of people, and have become essential objects in linking the past, present, and future of migrating communities. Vernacular photographs found in the home, encompass a substantial field of neglected knowledge and should be accorded greater attention and analysis in social science research. Vernacular images in academic research are often described as ordinary and mundane, their representational aspects are perceived to be repetitive and unremarkable (portraits, family snapshots etc.). However, this thesis argues that vernacular photographs are privileged objects and it is their universality and social embeddedness that elevates their significance in social science research. Unlike public or institutionalised photographic archives, vernacular archives operate within active social contexts and are alive with social agency. In this thesis, I use Alfred Gell’s anthropological theory of Art and Agency as the framework for conceptualising the social agency of photographs. To support these claims, this research examines the personal photographs found in the vernacular archives of a Gujarati migrant group in Christchurch, New Zealand. The photographs presented by members of this group are found at the centre of their social lives, mirroring their experiences and relationships in visual form. I use the Chakra Wheel as a visual metaphor to symbolise the nature of this group and their photographs. This metaphor speaks directly to the phenomenon of transnationalism and acknowledges that, for migrant communities, these transitioning processes are complex and elaborate, where the foundations of kinship and homemaking are constantly shifting. Vernacular photographs are at the centre of these transnational exchanges and networks, shifting from place to place, creating tangible and virtual threads between individuals, families, villages, and communities. They anchor these relationships at various sites, such as the wall in the family home, in albums, wallets, and on the internet. Vernacular photographs mirror these complex processes, and silently record and embody the social lives of people in a visual way. The mirrored reflection of the vernacular photograph can be both objective and subjective. By using the vernacular photograph as a research medium, in ethnographic research, we can get closer to the lived reality of people’s social lives. To emphasise the privileged position of vernacular photographs, I have chosen to use the methodology of photo-elicitation to position the photograph at the centre of enquiry. The methodology used in this thesis borrows some essential concepts from the discipline of phototherapy. Phototherapy claims that photographs can open up an exploration of us and others and, when the participant has primary agency, the affective force of the photograph is powerful and insightful. This thesis strongly supports these assumptions. Phototherapy uses photographs to explore the thoughts and unconscious processes of individuals. I argue that, in social research, photographs can also be used to explore and ‘open up’ the social world, by positioning the participant as the prime authority of their images, and their images as the vehicle of engagement and communication. By using vernacular photographs in this way, I look at both ‘on the surface’ and ‘below the surface’ of the image, making links with Barthes’ photographic theory and his concepts of ‘studium’ and ‘punctum’. In this thesis, the participants are the curators of their own personal archives. Their photographs give an emic view of their world, emphasising the importance of their migrant history, ancestors, village home, community, and cultural identity. Their photographs mediate agency between persons and places: keeping alive personal and spiritual relationships in the here and now; reinforcing essential familial knowledge systems; and assisting in creating and maintaining community identity and belonging.

In memory of cats: The camera and the ordinary moment looks at the way in which families use photographs to remember the past. Photography’s offer of memory is limited to a visual trace, so strategies of oral telling are examined to interrogate the way in which memories can be recovered from photographs. Martha Langford’s study of the similarities between structures in oral culture and the photograph album and Annette Kuhn’s strategies for reading family photographs in a broader historical context, are used to examine and recover memories from my own photographic archive. Using moving image to record those memories and then tell how that photographic evidence has shaped my present, is a process suggested by Linda Williams in her writing about how postmodern documentary can use the past to intervene in the present. Other documentary styles, performative documentary and the essay film, offer a structure for personal memories to be revisited and re-presented to public viewers. Offering a space for personal or specific memories to be understood or related to by a viewer is discussed by Lisa Saltzman, who looks at indexical forms other than the photograph, like casting and tracing. These ideas culminated in my video work, A Clowder of Cats, which explores the losses that have been a part of my history, through photographs of the cats my family has owned. The camera gives us a strategy to remember moments that may otherwise have been forgotten, and moving image provides a space for those ordinary moments to be bought back to the present.

Esta dissertação foca um processo de criação de imagens fotográficas a partir de manipulações químicas feitas sobre superfícies fotossensíveis, diretamente sobre o papel ou negativo, sem utilizar para isso o aparato tecnológico – a câmera. A partir dessa abordagem, a dissertação analisa os limites daquilo que conhecemos como fotografia. A pesquisa convergiu para a investigação das possibilidades fotográficas inerentes às superfícies sensíveis e fotossensíveis, às soluções fotoquímicas e para o cruzamento dessas possibilidades fotográficas com outras linguagens artísticas. O trabalho confrontou a fotografia com suas especificidades e buscou desvendar os domínios da fotograficidade, que se configurou como um lugar apropriado para vasculhar as certezas e incertezas do que é a fotografia. As reflexões teóricas foram instituídas pelo trabalho plástico. / This dissertation aims at a photographic images creation process from chemistry manipulations made over light sensitive surfaces, directly on the paper or negative, without the camera. From this point of view the dissertation analyses the limits of which we know as photograph. The research converged to an investigation of the inherent photographic possibilities to sensitive and light sensitive surfaces, to photochemical solutions and to an approaching of these photographic possibilities to other kinds of artistic languages. The creation process faced photograph and its unique features and, by dealing with them, tried to reveal the photographs unique characteristics, which showed a specific place to search the certainties and uncertainties of what photography is. The theoretic reflections were established by the artistic work.

Orientador: Elizabeth da Silva Gelli / Banca: Maria Lúcia de Oliveira / Banca: Isaac Antonio Camargo / Resumo: Fotografias estão constantemente ao nosso redor: nos jornais, revistas, outdoors, galerias de arte, nos envolvendo também de forma mais íntima através dos álbuns de família. Colecionar imagens de momentos importantes tais como nascimentos, casamentos, aniversários e viagens é costume de quase toda família, mas por que registrar e guardar estas lembranças? A fim de explorar detalhadamente a relação dos membros da família com seus acervos fotográficos, rastreando os sentidos dos álbuns, realizamos uma investigação tendo como participantes duas famílias: Aragão e Silva. Cada família possuía três voluntários que foram entrevistados individualmente, tendo como foco as narrativas instigadas por fotografias previamente selecionadas de momentos importantes para a família. A conduta básica do entrevistador pautou-se por intervenções mínimas, deixando os entrevistados discorrerem sobre as imagens. Como principais resultados observamos que, apesar das diferenças quanto ao relacionamento com o álbum da família, as fotos guardadas permitem a revisitação de experiências, a re-significação de acontecimentos e a criação de narrativas. No contato com interlocutores possibilita-se a produção de sentido de forma que o sujeito se reconhece como parte de uma história construída coletivamente. Dessa forma, o álbum de família é um importante acervo documental iconográfico e patrimônio do grupo familiar. Funciona não somente como arquivo de registros da memória, mas, sobretudo, como imagens disparadoras de afetos, sentimentos e recordações instigadores de narrativas capazes de ampliar a compreensão do passado e do presente. / Abstract: Photographs are constantly around us in newspapers, magazines, advertizing bill boards, art galleries and specially through the family albums. Collecting pictures of special occasions like births, weddings, birthdays, and trips are a custom of almost any family. Why register and file these souveniers? In order to explore in detail the relation of the family with their photo album and trace the significance of the photo album for the family, a recent study between two families, Aragão and Silva was carried out. This study involved six volunteers, three in each family who were interviewed individually on their personal memories of each pre-selected picture shown of their own family pictures. The behavior of the interviewer was based on minimum interventions, leaving the participants free to discourse about the images. As a result it was observed that regardless of the differences in relationship of the photo album, the pictures allowed the participants to revisit experiences, re-signify events and create vivid memory narratives. The significance of recollective memory is made through contact with others and one recognizes himself as part of a history constructed collectively. In this way, the family album is an important iconographic documented legacy for the family and therefore, not only a file of registered souveniers but over all as images of affection, feelings and memories that instigate narratives capable of extending/amplifying the past and the present. / Mestre

Orientador: Sérgio Campos / Banca: Zacarias Xavier de Barros / Banca: Osmar Delmanto Junior / Banca: Teresa Cristina T. Pissarra / Banca: Sergio Paschoal de Campos / Resumo: A grande importância da citricultura no Estado de São Paulo, particularmente no Município de Botucatu, e sua grande expansão em área nos últimos anos e o avanço das técnicas de monitoramento ambiental, como o sensoriamento remoto motivou a presente pesquisa. O objetivo deste trabalho foi avaliar as alterações espaço-temporal da citricultura no Município de Botucatu-SP, no período de 1962 a 2005, utilizando-se de: fotografias aéreas pancromáticas de 1962, 1972 e 1977 e coloridas de 2000 e 2005, imagens de satélite Landsat 2000 e 2005; juntamente com técnicas de Sensoriamento Remoto e Sistemas de Informações Geográficas, visando avaliar as diferenças na determinação de áreas e perímetros, por meio dos aplicativos: CartaLinx, SIG-Idrisi e SPLAN. Os resultados obtidos permitem concluir que: a área ocupada pela citricultura no Município de Botucatu-SP em 2000 representava 5,22% da área total do Município; passando a ocupar 8,63 % no ano de 2005, representando um incremento de 3,41% na área total estudada e uma expansão de 65,27% da área citrícola no período de cinco anos; sendo que, no período de 43 anos (1962 a 2005), houve um incremento de 12722,56 ha desta área. As áreas obtidas por meio de fotografias aéreas e avaliadas pelo Carta Linx apresentam valores mais próximos da verdade terrestre para a determinação de áreas e perímetros. A falta de nitidez das imagens de satélite dificulta a identificação de pequenas áreas de cobertura vegetal; o SIG-Idrisi apresentou discrepâncias para a determinação de perímetros, em função de trabalhar de forma matricial e que o SPLAN, é próximo do Carta Linx, para a determinação de áreas e perímetros, devido ao fato de ambos trabalharem de forma vetorial / Abstract: The great importance of citrus in São Paulo, particularly in Botucatu, its major expansion in area in recent years and the advanced techniques for environmental monitoring, such as remote sensing, are all factors that have motivated the present research. The aim of this study was to evaluate the spatial and temporal changes of citrus in Botucatu-SP from 1962 to 2005. For this, was used, panchromatic aerial photographs from 1962, 1972 and 1977, color ones from 2000 and 2005, Landsat satellite images from 2000 and 2005. Along with those, Remote Sensing and Geographic Information Systems were also used in order to evaluate the differences in determining areas and perimeters, by using software such as CartaLinx, GISIdrisi and SPLAN. The results showed that the area occupied by citrus in Botucatu-SP was 5.22% of the total area of the county in 2000. In 2005, it represented 8.63%, showing a 3.41% increase of the total area and an expansion of 65.27% of the citrus area within five years, being that during the period of 43 years (1962-2005), there was an increase of 12722.56 ha of this area. The areas obtained from aerial photographs and evaluated with CartaLinx present values closer to ground truth for the determination of areas and perimeters. The lack of accuracy in the satellite images makes it difficult to identify small areas of vegetation. GISIdrisi showed discrepancies in perimeter determination, as it works with matrixes. SPLAN is similar to CartaLinx for the determination of areas and perimeters, due to the fact that both work with vectors / Doutor

Conselho Nacional de Desenvolvimento Científico e Tecnológico / Esta tese trata da relação entre violência, sofrimento, fotografia e memória, a partir do noticiário de violência na cidade do Rio de Janeiro e da participação dos familiares de vítimas de casos noticiados em movimentos contra a violência. Para compreender esse universo, descrevo e analiso os discursos textuais, visuais e emocionais dos familiares de vítimas e, também, dos fotojornalistas. As notícias de violência, segundo Luc Boltanski, são uma forma de denúncia e de conversão dos casos individuais em causas coletivas. Essas são tomadas como um primeiro registro da violência que se transforma em um lugar de memória desses acontecimentos na cidade. A partir de notícias e histórias narradas pelos entrevistados foram construídos pequenos quadros de memória que contam o processo vivido pelos familiares após a violência. Esse processo iniciado por uma violência original se converte, ao longo do tempo, em lutas individuais e coletivas. O tempo torna-se um agente que trabalha nas relações, nas emoções e na memória. Ele transforma os sentidos da experiência violenta e constrói a identidade de familiar de vítima e as relações entre eles, moldando comunidades emocionais. Essas comunidades apóiam os familiares em seu restabelecimento emocional e social e na luta para conquistar o direito de justiça. Diante da morte violenta, essas lutas agenciam o surgimento de novas violências e a chegada de novos familiares de vítimas em meio às memórias individuais e coletivas. / This thesis deals with the relationship between violence, suffering, photojournalism and memory, from the news of violence in the city of Rio de Janeiro and the participation of victims relatives of reported cases in movements against violence. In order to understand this universe, I describe and analyze textual, visual, and emotional speeches of victims relatives and also of photojournalists. The news of violence, according to Luc Boltanski, are way of denunciation and conversion of the individual cases into "collective causes". These are taken as a first record of violence that turns into a "place of memory" of these events in the city. From news and stories, told by the interviewees, were built small "memory frames" that tell the process experienced by the family after the violence. This process starts by a "original violence" becomes, over time, in individual and collective fights. "Time is an agent" which "works" in relationships, emotions and memory. This changes the sense of the violent experience and builds the identity of the victims relative and the relationships between them, shaping "emotional communities". These communities support the family in their social and emotional recovery and in their fight for the right to justice. In the face of violent death, these fights negotiate the emergence of new violence and the arrival of new families of victims amid the individual and collective memories.

Esta dissertação foca um processo de criação de imagens fotográficas a partir de manipulações químicas feitas sobre superfícies fotossensíveis, diretamente sobre o papel ou negativo, sem utilizar para isso o aparato tecnológico – a câmera. A partir dessa abordagem, a dissertação analisa os limites daquilo que conhecemos como fotografia. A pesquisa convergiu para a investigação das possibilidades fotográficas inerentes às superfícies sensíveis e fotossensíveis, às soluções fotoquímicas e para o cruzamento dessas possibilidades fotográficas com outras linguagens artísticas. O trabalho confrontou a fotografia com suas especificidades e buscou desvendar os domínios da fotograficidade, que se configurou como um lugar apropriado para vasculhar as certezas e incertezas do que é a fotografia. As reflexões teóricas foram instituídas pelo trabalho plástico. / This dissertation aims at a photographic images creation process from chemistry manipulations made over light sensitive surfaces, directly on the paper or negative, without the camera. From this point of view the dissertation analyses the limits of which we know as photograph. The research converged to an investigation of the inherent photographic possibilities to sensitive and light sensitive surfaces, to photochemical solutions and to an approaching of these photographic possibilities to other kinds of artistic languages. The creation process faced photograph and its unique features and, by dealing with them, tried to reveal the photographs unique characteristics, which showed a specific place to search the certainties and uncertainties of what photography is. The theoretic reflections were established by the artistic work.