Theses (M.A.)--Carleton University, 2003. / Includes bibliographical references (p. 134-148). Also available in electronic format on the Internet.

Typescript. Includes bibliographical references (leaves 39-40).

Thesis (M.F.A.)--Rochester Institute of Technology, 2008. / Typescript. Includes bibliographical references (leaf 30).

Thesis (M.F.A.)--Rochester Institute of Technology, 2008. / Typescript. Includes bibliographical references (leaf 38).

Thesis (Ph. D.)--Carleton University, 1995. / Also available in electronic format on the Internet.

Thesis (Ph. D.)--University of Chicago, Dept. of English Language and Literature, August 2002. / Includes bibliographical references. Also available on the Internet.

Thesis (M.A. (Hons.)) -- University of Western Sydney, 2003. / "Submitted in part fulfillment of the degree of Master of Arts (Honours) by Research, School of Contemporary Arts, University of Western Sydney" Bibliography : leaves 104-110.

Orientador: Iara Lis Franco Schiavinatto / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-24T03:28:30Z (GMT). No. of bitstreams: 1 Zerwes_ErikaCazzonatto_D.pdf: 135961071 bytes, checksum: 0e115495780a66794d440c993d293a3f (MD5) Previous issue date: 2013 / Resumo: Este trabalho enfoca as fotografias de guerra dos fotógrafos David Seymour, George Rodger, Henri Cartier-Bresson e Robert Capa no período anterior à fundação da agência Magnum. Naquele momento eles estavam envolvidos em uma cultura política determinada, os círculos de esquerda e anti-fascistas europeus, e esta filiação política fez parte do desenvolvimento de uma linguagem visual nova. Assim, suas fotografias de guerra construíram bases para uma linguagem fotográfica que intentava comunicar o que acreditavam serem realidades políticas e sociais, impactadas ao mesmo tempo que impactando uma cultura visual e uma cultura política; estabelecendo ao mesmo tempo um modelo para a profissão de repórter fotográfico. Deste modo, o Capítulo 1 se volta para os primeiros meses da Guerra Civil Espanhola, em que um ímpeto revolucionário pautou as reportagens de Chim, Capa e Cartier-Bresson para a imprensa de esquerda francesa. No Capítulo 2 busca-se discutir como o fazer fotográfico e a estética desenvolvidos por eles são ao mesmo tempo tributários e rompedores de uma certa tradição, impactando a cultura visual em especial por meio das imagens ícones. O terceiro Capítulo procura marcar as diferentes formas de narrativa, seus desenvolvimentos e limites, e como o ganho de controle sobre esta narrativa, assim como a glamourização destes fotógrafos, auxiliaram a concepção e concretização da agência / Abstract: This work focuses on David Seymour's, George Rodger's, Henri Cartier-Bresson's and Robert Capa's war photographs prior to the foundation of Magnum agency. At that moment they were involved in a determined political culture, European left and antifascists circles, and this political allegiance became part of the development of a new visual language. Their war photographs built the foundation for a new photographic language which intended to communicate what they believed to be social and political realities, impacted by and at the same time impacting a visual and a political culture, as well as establishing a model for the photographic reporter profession. Chapter 1 refers to the first months of the Spanish Civil War, when the revolutionary momentum marked Chim's, Capa's and Cartier-Bresson's histories for the French left magazines. Chapter 2 intends to discuss how the photographic practice and the aesthetics developed by them are in some ways part of a tradition and in some ways new, impacting the visual culture especially through the icon images. Chapter 3 intends to stress the different narrative forms, its developments and limits, and how the narrative control gain as well as the photographers' glamorization helped the agency's conception and establishment / Doutorado / Politica, Memoria e Cidade / Doutora em História

We will discuss here the issue of manipulation in the digital era of photojournalism. At first we will describe the relation between photography and its referent inculding its ability to represent the reality. Depicting the contrast between analogue and digital photography we will point out the independent position of digital photography from its referent, which is creating better possibilities for manipulation and decreasing the credibility of photography. Then we will analyze the text The Dusk of Photojournalism? that is reflecting these perspective and offering the solution increasing the position of the relation between photography and its referent. By contrast we will analyze the text called Photojournalism is dead, long live photojournalism. Why digitization can increase the credibility of journalistic photography? which considers this perspective as obsolete and offers us the new perspective of the relation between photography and its viewers, that could increase the credibility of photography in photojournalism. According to these two major perspectives we will point out whether it is possible to consider this option of photography - viewers relation as a relevant alternative. Based on these conclusions we will point out the major point of credibility of journalistic photography and imply...

The thesis primarily aims to analyze the situation of DIY culture on the specific case of contemporary DIY photography through a research focused on photography students and alumni at Czech photography programmes. The research consists of fifteen in-depth interviews conducted with the students or alumni providing qualitative data that is analyzed quantitatively using the interviewees' coded answers. The secondary aim is to provide a theoretical background to the topic of DIY photography, exploring the connection between photography and DIY (Do It Yourself) in its historical context, as well as its current standing, as well as to introduce the photography medium's evolution briefly, focusing on the methods that were discovered, or applied, with a certain level of amateurism or through contribution from another field. Later, it explores the concept of DIY in different forms, subcultures, and contexts to draw a conclusion of how photography and DIY relate. The thesis' findings are centred around the struggle photographers feel when it comes to DIY in digital technologies, mainly due to limits in their skills in hands-on processes compared to analogue photography and the overall level of satisfaction with the available technology.