A fotografia surge no século XIX, fruto da industrialização e, como um novo modo de expressão, estimula novas formas pensar e fazer imagens. No início do século XX, motivado por estudos de sequencias fotográficas, nasce o cinema. As duas linguagens são resultado visível das estruturas da modernidade (desenvolvimento tecnológico, expansão industrial e cultura de massa) e impulsionaram a criação de novas formas de comunicação. Neste contexto surge um novo tipo de mídia: as revistas ilustradas com fotografias. Essa forma de publicação despontou na Europa, após o fim da Primeira Guerra Mundial e se espalhou pelo mundo impulsionada pela ascensão de regimes totalitários, que obrigou muitas pessoas ao exílio, ajudando a propagar as ideias do novo meio. Apoiadas na visualidade como principal veículo de discurso, ajudaram a consagrar o fotojornalismo como meio de comunicação. Provavelmente a revista ilustrada mais conhecida no mundo, a norte-americana Life, foi lançada em 26 de novembro de 1936. Seu projeto editorial baseava-se nos modelos europeus, que a transmitiam a informação por meio de reportagens fotográficas. Por privilegiarem a visualidade, as ilustradas são apontadas como o elo entre a fotografia e o cinema. Esta dissertação se propõe a analisar as características gerais da Life e a discutir os códigos visuais que ligam a linguagem das fotorreportagens à cinematografia. / Photography emerges in the 19th century, as a consequence of industrialization and, as a new fashion of expression, stimulates new ways of thinking and producing images. In the beginning of the 20th century, inspired by studies on photographic sequences, the cinema is born. Both languages are the result of the modern scenario (technological development, industrial expansion and mass culture) and boosted the creation of new means for communication. In this context a brand-new media is created: magazines illustrated with photographs. This way of printing first appeared in Europe, after World War I ended, and spread all over the world driven by the rise of totalitarian systems, forcing people into exile, helping to sow the ideas of the new media. Based on visibility as the main vehicle of speech, they established photojournalism as a communication tool. Life, possibly the most famous illustrated American magazine in the world, was launched in 1936. Its editing design was based in the European models favoring the broadcast of information through photo coverage. Because they favor the visual communication, the illustrated magazines are considered the connecting link between photography and cinema. The present thesis proposes to analyze the general features of Life magazine and to debate the visual codes that connect the ways of communication between photo-reportage and cinematography.

Submitted by Maria Dulce (mdulce@ndc.uff.br) on 2014-07-01T17:14:28Z No. of bitstreams: 1 Lopes, Marcos-Tese-2014.pdf: 6603472 bytes, checksum: 9e8313f43a0e7522a9525cbf008489ee (MD5) / Made available in DSpace on 2014-07-01T17:14:28Z (GMT). No. of bitstreams: 1 Lopes, Marcos-Tese-2014.pdf: 6603472 bytes, checksum: 9e8313f43a0e7522a9525cbf008489ee (MD5) Previous issue date: 2014 / Esta Tese de Doutorado em História Social tem como objeto de estudo a obra do fotógrafo Mario Baldi, austríaco radicado no Brasil a partir de 1921. A trajetória profissional de Baldi foi marcada pela fotografia etnográfica e jornalística, com ênfase nos povos indígenas brasileiros. O objetivo do estudo é abordar as representações da alteridade cultural presentes na produção do fotógrafo, desde sua imigração até os anos 1950. A pesquisa apresenta também o círculo de sociabilidades do fotógrafo e o circuito das suas imagens, com o objetivo de delinear suas práticas fotográficas e como elas compuseram a experiência fotográfica brasileira na primeira metade do século XX. / This doctoral thesis hás the work of the photographer Mario Baldi as its object of study. Baldi, an Austrian who immigrated to Brazil in 1921, dedicated his career as a photographer to ethnography and journalism, especially among Brazilian indigenous peoples. The aim of this study is to address the representations of cultural otherness in the photographer’s work, since his immigration until the 1950s. The research stresses as well the social relations of Baldi and the circuits of his images, so that one can grasp the Brazilian photographic experience in the twentieth century through his photographic practices.

Master of Science / Department of Journalism and Mass Communications / Robert W. Meeds / This report is based on an exhibition of 37 photographs at the Kemper Gallery in the Student Union of Kansas State University. All photographs presented here and in the exhibit were created during the past 28 years of my career. Hence the exhibit is a mid-career retrospective. My photojournalism experience is very unique in that I am the only photojournalist in the world who has worked as a presidential photographer, published photo essays in National Geographic Magazine as a freelancer, and been on the staff of a large metro newspaper. The photographs chosen for the exhibit were highlighted by, but not limited to, assignments from those three experiences. This report mirrors the exhibit except for a few additional photographs that, because of space limitations, didn’t make it into the final edit for the exhibit. There are three sections: Moments from Kansas to Papua New Guinea, The Presidency, and After 9/11. The “moments” section presents a wide variety of photographs from a wide variety of assignments. The “presidency” section focuses on my tenure as Official White House Photographer for President Reagan, and also includes photographs of the Reagan funeral, other presidents, and a possible future president. “After 9/11” begins at the Pentagon on 9/12, and then follows the course of events in Afghanistan during the following weeks. Extensive captions accompany most of the photographs. The captions are written in the third person which is customary for gallery exhibitions. More than the who, what, where and when, they provide some additional context and are intended to inform both the journalism student and the layperson.

This Master's Thesis is focused on evolution of photography with focus on photojournalism and documentary photography and aims to prove that this genre, though it may seem that it's currently on the decline, is still important. The theoretical part contains general history and definition of photography, pointing out the relationship between photography and art and describes the most important theories of aesthetics of photography. Then the work is focused purely on photojournalism and documentary photography. It describes the relationship and the difference between these genres. Further the thesis is focused on the ethics of photography and manipulation of images. The practical section consists of analysis of technical requirements on photo equipment with regard to individual areas of photojournalism and documentary photography. The following part contains practical examples based on author's experience and the work concludes with compilation of several Czech photographers' answers to questions about photojournalism and documentary photography.

Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2016-04-18T13:28:00Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) CristianaDias_Artes Visuais_2015.pdf: 3625608 bytes, checksum: a0e8cf5d18d70cf3d7cf2ce585ec46e7 (MD5) / Made available in DSpace on 2016-04-18T13:28:00Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) CristianaDias_Artes Visuais_2015.pdf: 3625608 bytes, checksum: a0e8cf5d18d70cf3d7cf2ce585ec46e7 (MD5) Previous issue date: 2015-05-28 / O trabalho objetiva investigar a poética nas obras e no processo criativo que deram legitimação artística ao fotógrafo Gilvan Barreto. Trata-se de uma pesquisa com enfoque principal em seus dois primeiros livros de fotografia: Moscouzinho (2012) e O Livro do Sol (2013). Verificamos modificações no processo criativo do período em que a fotografia do autor era voltada para publicações editoriais,- cuja linguagem predominate é o fotojornalismo, - e quando as publicações foram direcionadas aos espaços de legitimação artística. A intencionalidade artística o levou a um processo de pesquisa e experimentações até o amadurecimento gradual da sua linguagem, ultrapassando os limites do fotográfico. A partir de um exercício de reflexão, indicaremos as possibilidades de, no campo fotográfico editorial, fazermos um caminho de retorno às fronteiras entre o fotojornalismo e a fotografia artística. / The dissertation aims at examining the poetry in the works and the creative process providing artistic legitimacy to photographer Gilvan Barreto. The research focus mainly on his two photography books: Moscouzinho (2012) and O Livro do Sol (2013). Modifications have been found in the creative process when the author’s photography was intended to editorial publications – which language is predominantly photojournalism – and when the publications were directed to the artistic spaces of legitimacy. Artistic intentionality led him to a process of research and experimentation until the gradual maturing of his language, overcoming the photographic limits. A reflexion exercise indicates the possibilities of, in the editorial photography field, making a way back to the boundaries of photojournalism and art photography.

Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2017-06-22T14:58:15Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Tese_JoaoGuilherme.pdf: 3983936 bytes, checksum: 537864cef5e8774fd0f3413491833300 (MD5) / Made available in DSpace on 2017-06-22T14:58:15Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Tese_JoaoGuilherme.pdf: 3983936 bytes, checksum: 537864cef5e8774fd0f3413491833300 (MD5) Previous issue date: 2016-06-30 / Este trabalho investiga o processo de construção histórica do discurso visual da notícia, com especial atenção para as rupturas e regularidades associadas as esferas da teoria e da prática da fotografia de imprensa. Sobre tais reconfigurações, buscamos observar de que forma a atividade fotojornalística e, consequentemente, suas cadeias de produção, edição e circulação de conteúdo, vêm absorvendo algumas dessas mudanças, as quais assinalam para “novos contextos” tanto em nível processual (gestão de processos) como no que se relaciona ao nível procedimental (técnico) da atividade. Para isso, buscamos estabelecer um processo classificatório para as características direcionadas ao fotojornalismo que se concentrassem em três grandes esferas (ou dimensões): a dimensão técnica (relacionada à questões de rotina), a dimensão estética (atrelada a ideia de codificação da atividade) e a dimensão deontológica. Tal escolha foi norteada pela necessidade de agrupar particularidades que representassem importantes subatividades articuladas à atividade fotojornalística. Ademais, podemos destacar entre os objetivos apontados para esta tese a identifcação, por meio de uma análise diacrônica de 15 manuais de fotojornalismo, do processo de construção das orientações alusivas às dimensões técnica, estética e deontológica da atividade. Tal análise evolutiva das orientações sobre tais as dimensões, através de seus manuais, apresenta uma abordagem investigativa que aponta para zonas de tensão / “transições de status” (ou, segundo Foucault (1987), fenômeno de ruptura) nos campos da produção, edição e circulação das imagens voltadas para a imprensa. Essa perspectiva oferece um novo olhar sobre a história evolutiva dos processos que compõem as esferas teórica e prática do fotojornalismo. Partindo dessas considerações, estabelecemos três hipóteses principais para o trabalho: a primeira hipótese aborda os manuais de fotojornalismo sob uma perspectiva que permite a identificação de regularidades, acumulações e rupturas nas dimensões técnica, estética e deontológica A segunda hipótese postulada adverte que as regularidades, acumulações e rupturas aqui específicas permitemnos ressaltar para consolidação de um campo (Bordieu, 2003) para o fotojornalismo. Por fim, a terceira hipótese trabalhada nesse material indica o surgimento de um sujeito-autor na cadeia fotojornalística: o manulista. / This work investigates the historical construction process of the visual news speech, with special attention to the ruptures and regularities associated with the sphere of theory and practice of press photography. On such reconfigurations, we observed how the photojournalistic activity and, consequently, their chains of production, editing and circulation of content, have been absorbing some of these changes, which indicates for "new contexts" both in procedural level (process management) as in what relates to the technical level of activity. For this, we have established a classification process for the features related to photojournalism which to focus on three major spheres (or dimensions): the technical dimension (related to routine issues), the aesthetic dimension (linked the idea of codification of activity) and the ethical dimension. This choice was guided by the need to group characteristics that represent major sub-activities articulated to photojournalistic activity. Moreover, we can stand out among the objectives apointed for this thesis the identifcation, through a diachronic analysis of 15 manuals of photojournalism, of the construction process of allusive guidelines for technical, aesthetic and ethical activity. This evolutionary analysis of guidelines on such dimensions, through its guides, presents an investigative approach that points to areas of tension / "status transitions" (or, according to Foucault (1987), breaking phenomenon) in the fields of production, editing and circulation of images aimed at the press. This perspective offers a new look at the evolutionary history of the processes that make up the theoretical and practical spheres of photojournalism. Based on these considerations, we have established three hipothesis for our thesis: the first hypothesis presents the photojournalism manuals from a perspective that allows the identification of regularities, accumulations and ruptures in the technical, aesthetic and deotological The second hypothesis postulated warns that the regularities, accumulations and specific breaks allow us to emphasize consolidation of a field (Bourdieu 2003) for photojournalism. Finally, the third hypothesis worked in this material indicates the emergence of a subject-author in photojournalistic chain: the "manualista".

Journalism is a profession which bears many social and political responsibilities. Particularly war correspondence is a challenging task for professional journalists and thus constitutes a decisive part in the academic field of Journalism Studies. In order to evaluate the role of journalitic conduct in times of war, it is commonly dichotomized into two opposing concepts known as War and Peace Journalism. The concepts are most often studied in connection with text-based journalism which is why scholars have been stressing the need to create a similar conceptualization for photojournalism – a profession with a great relevance in war correspondence. First research approaches resulted in models such as War and Peace Photography which, however, only considered the visual contents of photojournalistic documents. Yet, particularly the legacy of images can be dynamic – hence, subject to change over long periods of time – and consequently alter the reception and categorization of a news photograph as either a War and Peace document. Thus, the aim of this thesis is to explore the notion that many different aspects need to be taken into account before a fair and productive categorization of such documents can be offered. In addition to the method of visual analysis, it thus entails anempirical study in a triangulation setting in which photojournalistic material on the Vietnam War, the picturesʼ captions as well as their additional documentary material regarding the broader historical and political (e.g. published interviews, governmental documents, articles) will be analyzed in three consecutive steps: (1) The photos are assessed in terms of their War or Peace classification based on their visual impression; (2) the captures are analyzed content-analytically and put in relation with the visual observations; (3) the additional documentary material is explored to understand the picturesʼ social, political, and historical genesis. For the purpose of the latter, a new category system has been defined and assigned to the sample images. Findings indicate that a visual categorization of an image are not necessarily supported by its captions as well as the respective surrounding historical, political and social circumstances. Additionally considered context might contrast the most basic definitions of War and Peace Journalism. For example, the assessed cases of War Photojournalism were not used for “propaganda” purposes – an often-ascribed feature of War Journalism. From this, it can be concluded that visuals are only one of many factors which can impact the meaning and reception of an image and, as a consequence, its categorization. Sufficient conceptualizations of photojournalistic documents should thus consider not only what is obvious but also the experiences, actions, professional values and intentions of photojournalists within the images’ prehistory and aftermath, reasons for their publication, their reception by an audience, and external influences on their respective medium.

No description available.

This diploma thesis focuses on the topic of Instagram accounts of media companies in the context of news values. It studies how selected media companies choose their content for Instagram accounts, and what news values are crucial to them when picking their posts. The aim of the work is the analysis of the dominant news values and the description of the specifics of Instagram contents. Using a combination of quantitative content analysis of Instagram posts of monitored media accounts and qualitative structured interviews with administrators and editors of Czech media newsrooms profiles, the author tries to answer research questions and confirm or disprove the hypotheses. The conclusions of the thesis show that the Instagram environment is highly competitive for news organizations with pressure on the speed and attractiveness of their posts. Therefore, the news media use various opportunities, which their Instagram account allows them, to satisfy their audience or attract new followers. However, the monitored sample does not confirm the existence of cross-prevalent dominant news values, or universal posts or topics that would be used by the media on Instagram.

This thesis explores how gender inequality in the photographic staff of the main Colombian media outlets, has established a hegemonic view of representation and examines the way recent social outbursts in the country, have been the ideal setting for the rise of citizen journalism, visual activism, and new visual citizenships. It seeks to present how diverse individuals, including female photojournalists are producing alternative visual narratives and igniting a paradigm shift on traditional photojournalism. By embracing new digital visualities and depictions of the other, these individuals are confronting traditional media organizations, questioning their visual narratives, inclusion, and representation policies.   Positioned from a Phenomenological and Feminist Media Theory standpoint, this project aims to observe this phenomenon from the bottom up, building from the experiences of the subject’s study. This project will consider emotions, affections lived experiences of three Colombian female photojournalists in active exercise of their profession, who will take part of this study, and those experiences will be basic inputs of interpretation. I contend that not sufficient research has been done on this topic, and expose an evident research gap, existing in Latin-American and Colombian Media Studies, since it’s connected to new technologies, recent social change and in general, a phenomenon still developing. Drawing from a Phenomenological Psychology field methodology, data will be obtained through semi-structured interviews and examined with coding and interpretation tools provided by this discipline. This study concludes how the female body becomes a political and visual signifier exercising an embodied practice in photojournalism, but also by emotions connected to what they are seeing through their lenses, which in turn, produces affective visualities and narratives many times, opposed to the claims of objectivity, rationality and newsworthiness traditional journalism stands for.