Community Renewal International is a not profit group based in Shreveport, La. whose mission is to partnering with God and with each other to make our world a home where every child can grow up safe and loved. This report is the personal account from the photographer of a photojournalism project covering the organization. It includes the struggles of, stories from, and intention of the photographer. / text

"Direct Address" is a document intended to complement a body of artwork, including photographs and digital video. The focus of this text is to discuss my process of creating documentary film. Beginning with my thesis film it traces my development as documentary filmmaker over a two-year period, highlighting shifts in my thinking and activity during that time.

Between 1946 and 1948, American photographer Margaret Bourke-White traveled to India while on assignments for Life magazine. Since the late 1940s, a photograph from these assignments that depicts three men sitting in an ornately decorated room has appeared in several publications and exhibitions under variations of the title A Moneylender’s House (1947). Though Bourke-White is traditionally categorized as a documentary photojournalist, her photograph exhibits motifs similar to those seen in European Orientalist paintings from the nineteenth century. Considering recent scholarship that has expanded the temporal and geographical parameters of the Orientalist photography genre, this thesis analyzes the “documentary” photograph, A Moneylender’s House, in its varied exhibition and publication contexts to determine whether they present the photographic subjects from a “nonrepressive and nonmanipulative perspective” (one that Edward Said suggests might provide an “alternative” to Orientalism), or reinforce the “Self/Other” binary at the core of Orientalism.

This diploma thesis deals with the status and development of Czechoslovak sport journalism in daily newspapers between years 1918 and 1928. It is based on studies of five period newspapers - Národní listy, Lidové noviny, Národní politika, Právo lidu and České slovo. Given the paucity of original literature, these five printed materials are the main source of the analysis. The main aim of the thesis was to determine, how often and in which manner the journalists wrote about sport in that period and if the sports news became an inseparable part of newspaper in that period. One part of the analysis focuses on the people who wrote sport articles in those newspapers, if the sport journalism was their only specialization. It is also partly considered with the status of Czech sport photojournalism, sport advertising and reporting from the Olympic Games in that time. The opening three sections of the diploma thesis are mainly theoretical. The first one outlines the genesis of Czech sport journalism from its beginnings to the year 1918, when the profession became an independent branch of newspaper business. The second one describes the situation of Czech sport between years 1918 and 1928. And the third one characterizes the media situation in the Czechoslovakia in years 1918-1928, focusing on sports...

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The Master Thesis The depiction of events in Ukraine on photographs - ethical aspects of depicting conflict presents a case study focused on depiction of Ukrainian crisis in photographs during a defined period of time of 2014 in five Czech and five foreign newspapers. The first part of the thesis introduces the theoretical concepts that are the basis for the analysis. The analytical part presents the research of depiction of the Ukrainian events in news photographs in the daily newspapers using the technique of content picture analysis. The results let us compare the differences between the approach of the individual Czech and foreign newspapers to the issue of publishing graphic images of violence and its victims. Based on these findings, the thesis tries to define the contemporary trends regarding the ethical issues of photojournalism. Powered by TCPDF (www.tcpdf.org)

World Press Photo 1955-2010: a content analysis of the winning photos is a theoretical and empirical research. In the theoretical section the issues of photography as a reality representing medium, historical and current status of photojournalism as a profession and finally visual sociology including content analysis of photography are described. Main research question is: are there any tendencies in the winning photos' imaging of international events from the beginning of the contest in 1955 to 2010? Six hypotheses which assume these tendencies in the field of photography content as well as in the field of photography production are determined. A content analysis is applied on every World Press Photo of the Year including title and technical data. The goal of this research is to find some latent trends of the way international events are displayed in the photographs and to interpretate them in the terms of media studies. In the empirical section the procedure for the verification of hypotheses, the application of frequency, correlation and factor analysis are described and the results are interpretated. In final conclusion these results are discussed and other research aims to further knowledge in the field of content analysis of photos are proposed.

The paper deals with the development of the Czech journalistic sport photography from mid 20th century until recent time. Conditions that influenced the work of sports photographers are mapped, whether it was technical equipment, political constraints or other relevant facts. The paper mentions key events that have had importance in the Czech sports photography. The very beginnings of the Czech sports photography are described, too, to add context with the period followed. Furthermore, some noteworthy cases are mentioned, such as career change of a professional sportsman to a sport photographer. Ethically doubtful practices, once quite frequent, are followed, too. Another infrequently studied area of interest is discussed, which is the phenomenon of successful pictures of neglected events. The paper also provides the reader with a list of the foremost Czech sports photographers, a quantitative analysis of sport photos in the Rude Pravo daily (name later changed to Pravo). Main moments of change are studied from the point of view of the extent of the sport photography on the pages of Czech dailies. Since this topic has not been extensively covered by books, an important part of the paper is based on original interviews with veteran Czech sport photographers, including Stanislav Tereba, the only Czech winner...

[pt] Este trabalho, Bem na foto - a invenção do Brasil na fotografia de Jean Manzon, tem como foco principal a articulação das imagens produzidas pelo fotógrafo francês Jean Manzon no Brasil nos anos de 1940 com o contexto ideológico do período. Para isso, leva-se em conta a expressiva experiência de Manzon na imprensa européia da década de 1930, momento em que a fotografia se desvincula de uma função meramente ilustrativa do mundo para assumir autonomia como linguagem, tornando-se construtora da realidade. Nessa trajetória, ganha relevância o contexto do Estado Novo, em particular a relação do regime com a imprensa, a partir da atuação do Departamento de Imprensa e Propaganda (DIP). Depois disso, esta investigação centra-se na contribuição de Jean Manzon para a revista ilustrada O Cruzeiro, entre 1943 e 1951. A partir de uma série de imagens, Manzon se apresenta como agente da consolidação de uma identidade nacional, operando uma síntese do Brasil, como tradução da convergência das diferentes idéias de Brasil existentes na época. / [en] This essay, Photogenic - the invention of Brazil on Jean Manzon s photography, has as its main focus the articulation of the images performated by the french photographer Jean Manzon, in the 1940 s, and the ideological project of the period. In this context we take into consideration Manzon s experience in the european press in the 1930 s, moment when the photography interrupts its function of only illustrating the world, turning into a constructor of reality. In this path, the political context of the so called Estado Novo acquires relevance, in particular with its association with the press, by means, most of all, through the Departamento de Imprensa e Propaganda (DIP). Afterwards, this investigation focuses on Jean Manzon s contribution for the illustrated magazine O Cruzeiro between 1943 and 1951. From a series of images, Manzon emerges as an agent of the national identity consolidation, producing a synthesis of Brazil, as a translation of the multiple existing ideas at that time.

Este trabalho trata de uma pesquisa de recepção baseada na fenomenologia do Princípio da Razão Durante. Ele teve como objetivo observar a relação entre o observador e a fotografia, e se pergunta: o que ocorre nesse processo? De um lado, ele considera que a comunicação acontece apenas no receptor, que ela é individual e intransponível, dependendo de certa abertura para o mundo, de certa percepção. De outro, que na fotografia o que se destaca é sua parte vívida, que também depende da percepção. No início, o trabalho ressalta as características híbridas da fotografia, como algo entre arte e documentação. O recorte aqui é a fotografia jornalística, que levanta questões para se pensar o que é a fotografia em geral. No segundo capítulo, faz-se uma aproximação entre a teoria e o Acontecimento comunicacional, a saber, a comunicação propriamente dita. Por último, o trabalho apresenta o relato obtido como resultado da observação realizada na exposição de fotojornalismo World Press Photo. / This work deals with a research based on the phenomenology of the Principle of Reason During. He\'s aimed to the observation of the relationship between the viewer and the photograph, and asks: what happens in this process? On one hand, he believes that communication happens only at the receiver, it is individual and impassable, depending on certain openness to the world, in a sense. On the other, he believes that in the picture what stands out is its vivid parts, that also depends on perception. At first, the work highlights the hybrid features photography as something between art and documentation. Detached here is the journalistic photography, posing questions to think about what is photography in general. In the second chapter, is made an approximation between theory and communicational Event, namely the communication itself. Finally, the paper presents a report obtained as a result of the observation made in photojournalism exhibition of World Press Photo.