Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1982. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Bibliography: leaves 229-234. / by Linda Benedict-Jones. / M.S.V.S.

Many Days Many Nights is a body of work that examines the notion of place, highlighting the complex relationship between a psychological state of mind and the experience of geographical location. The work incorporates a hybrid documentary photography practice combined with experimental video to construct narrative and is underpinned by a phenomenological inquiry into the relationship between memory, time, and the experience of place, and collectively, how these concepts pervade the subjective photographic frame. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2019. / FAU Electronic Theses and Dissertations Collection

This thesis is primarily concerned with the meanings that are produced when women become visible amongst the homeless through photographic representations. While there have always been homeless women, unlike their male counterparts, they have remained largely invisible to the public and government policy makers.Social documentary photography has acted as one of the main avenues through which homeless women have, literally, been rendered visible. Driven by, and implicated in complex sociocultural and political circumstances, socially concerned photographs draw on the real and the fictional to generate truth/power effects.Thus, the thesis re/traces the representation of homeless women in a range of visual texts and ask how this construct has been discursively produced and deployed. In order to explore how socially concerned photography has contributed to, and made use of the idea of homeless, or destitute woman, examples are drawn from a range of photographic genres. These include traditional social documentary, public collections of photographs, photojournalism and publicity materials.The selected images, the circumstances out of which they emerge, and those in which they are read, are interrogated along, and with the consideration of the interconnections between axes of gender, genre, race, class and power. The inquiry does not aim to establish a unitary source, or coherent trajectory of the visual representation of the homeless woman, because origins, particularly of ideas, are always contestable. Rather, a primary aim is to expand the field of possibilities for the visual portrayal of women's experiences of homelessness. / Doctor of Philosophy (PhD)

Univ., Habil.-Schr. u.d.T.: Stumberger, Rudolf: Klassen-Bilder - Konstitutionsbedingungen sozialdokumentarischer Fotografie 1900 bis 1945--Frankfurt/Main, 2005. / Literaturverz. S. 280 - 288.

Thesis (M.F.A.)--Rochester Institute of Technology, 1991. / Typescript. Includes bibliographical references (leaf 31).

Thesis (M.F.A.)--Rochester Institute of Technology, 1990. / Includes bibliographical references (leaf 15).

Thesis (M.F.A.)--Rochester Institute of Technology, 1978. / Typescript. Includes bibliographical references (leaves 88-92).

Thesis (M.F.A.)--Rochester Institute of Technology, 1989. / Typescript. Includes bibliographical references.

The Falklands Conflict has always loomed large throughout my adult life. As a young man of 19 years old, I watched the television and read the newspapers with the same degree of excitement and fascination as most of the British population. In the following year, as a direct result of the passion and glory that surrounded the war I joined the British Army as a Royal Military Policeman. It quickly became apparent to myself, if not the military, that this was a poor career choice and that I was never cut out to be a soldier. After a military career lasting no more than a few weeks I went to college and started life as a photographer, joining the Ministry of Defence in the late 1980s. Since then, I have made numerous visits to the Falkland Islands to publicise the work of the soldiers who now defend the islands from any threat of re-invasion. Looking back, it seems that the war was over remarkably quickly, and by modern standards, where the war in Afghanistan is projected to last anything between 10 and 20 years, it was. It has often been described as Britain's last colonial war, the last in a long line of small conflicts that expanded and defended the British Empire. Attitudes to war in the South Atlantic developed in a bubble of patriotism and jingoism that has not been seen since and such attitudes now seem to be forged in imperialism, in a time long past and no longer available to representatives of British culture. However, on a wider stage, the representation of all wars and the men who fight in them has a long history. Each culture has its own way of coming to terms with conflict and death, but in the western world, the origins of the representation of the warrior can be traced back to the Ancient Greeks in general, and Homer in particular. Dr. Jonathan Shay, a psychiatrist with the United States Department of Veteran Affairs has made a compelling argument that breaking the Greek covenant has had lasting implications for the veterans of the Vietnam War. (Shay 1995) This psychoanalytical work has helped provide a model of representation that explains why soldiers are portrayed in the way they are. Without the work of Dr. Shay, I am sure that this thesis would not have taken the course that it has. In pursuing this thesis I have had to accept that there may be implications, perceived or real, for my ongoing work as photographer with the Ministry of Defence. The MoD has in various measures supported this research and to date has made no attempt to direct its course or influence the findings; in fact, at the point of submission, they are unaware of its contents. It is clear, that in this type of research, not all the findings will reflect well on the MoD's past or current working practices, but I believe it is possible for it to learn from the results. My position as an MoD photographer has on the other hand had a positive benefit on the research: I have been able to gain access to archives that have remained closed to others. Hilary Roberts, Head of Photography Collections at the Imperial War Museum, has been very influential in this work and has given me more co-operation and trust than I could have hoped for. She has also allowed me more time to present this work than I could have dared asked for given the nature of the images found in the IWM archive, and that the research spanned the 25 th anniversary celebrations. I remain grateful to Hilary for her unstinting support. Finally, I would like to thank Dr lan Walker for his support and supervisor expertise over far too may years. He has read and re-read this work more times than I care to remember and has remained perennially patient with my inabilities to either type or spell, a problem that has made his job all the more difficult. The research and the writing faltered on several occasions, some more serious than others, but without his skill in getting me to do things that, quite frankly, I really did not want to do, this project would never have been completed. It is to Ian that I hold the deepest debt of gratitude.

This study is situated in a social documentary photography context, and is concerned to explore whether the collaborative interaction between photographer, subject (as collector) and material object (as collection) might enable a practice that presents a more mutual and subject-centred visual identity emerge. In particular, photographers Jim Goldberg and Gideon Mendel have focused more on the subject themselves, using collaborative processes such as photo-voice and photo elicitation, as well as the use of peoples’ handwritten captions on photographic prints themselves. Claudia Mitchell’s overview of visual methodologies is drawn on, together with Ken Plummer’s Documents of Life 2 (2001) and Gillian Rose’s Visual Methodologies (2001) to extend on these possibilities of conducting collaborative visual research.The practical component of this study focuses on personal collections and follows a number of theorists, including Susan Pearce, and John Elsner and Roger Cardinal. It follows Pearce’s identification of three major modes of collecting, and suggests that collections are essentially narratives of the self, and reveal experiences and expressions of personal desire. By drawing on these approaches and the various ways the twelve collectors were photographed, as well as implementing collaborative research processes (handwritten text, archival photographs and the re-staging of the collections), the study confirms Pearce’s three primary modes of collecting, and acknowledges that they are often interlinked or overlap one another. The study further found that a more subject voiced visual identity did indeed become apparent through the collaborative methods applied and discussed. The collaborative research equally demonstrated that these narratives of identity are not singular, but rather narratives of multiple, personal identities of the self.