1 Abstract This master's thesis deals with a genre expectation from an advertising photography in magazines from 1970 up to the present. The intent of a theoretical part of the master's thesis is to characterize the advertising photography and compare it with other photographic genres such as journalistic, documentary or artistic photography, because each of those genres is characterized by different modes and so, each carries considerably diverse expectations. And thus, an attention is paid especially to a photography composition within the scope of those individual genres. However, in connection with the comparison of the advertising and journalistic photography, I also focus on regulations, which limit these genres. Further, the aim of this thesis is to map the limits of the genre of the advertising photography and depict, with the use of the particular examples, what stereotypes, prejudices and standards are used in the creation of the advertising photographs and how it ends up, when they are broken. Nevertheless, in the theoretical part I also deal with it, what does it mean a term illustrative photography and where this term is used. The practical part of the master's thesis makes it the goal to clarify, thanks to a research method of a qualitative analysis, what female readers of the lifestyle...

Fotografien aus den Kolonien sollten um 1900 auch in Sachsen die Realität in Deutschsüdwestafrika oder Deutschostafrika aufzeigen. Dabei wiederholten sich die Motive: Farmleben, koloniale Architektur, das Leben der Herrnhuter Brüdergemeinde in den Missionsstationen, aber auch Bilder der Chagga oder Motive aus Dörfern der Nyakyusa sollten zuhause Erfolg oder Notwendigkeit von Kolonisierung und Zivilisierung belegen. Diese klaren Deutungssrahmen wurden selten durchbrochen. In Sachsen wurden diese Bilder in illustrierten Zeitschriften und Rahmen von Reklame rekonstruiert und trugen damit zu einer Normalisierung des Kolonialismus bei. Aus kolonialhistorischer und postkolonialer Perspektive können diese stereotypen Darstellungen heute dekonstruiert und hinsichtlich ihrer Authentizität befragt werden.:1. Einleitung 2. Forschungsüberblick 2.1. Der Kolonialrevisionismus der Weimarer Zeit 2.2. Dekolonisierung und kritische Kolonialgeschichte 2.3. Geteilte Geschichte aus postkolonialer Perspektive 3. Postkoloniale Annäherungen an eine sächsische Perspektive 3.1. Über den Rand der Welt: afrikanische Grenzziehungen 3.2. Koloniales Wissenscharchiv und kulturelle Hegemonie 3.3. Zur Hybridität kolonialer Zeichen und Bilder 4. Koloniale Deutungsrahmen und ethisches Moment: eine bildtheoretische Herangehensweise 5. Fotos für das kolonialgeographische Institut der Universität Leipzig 5.1. Repräsentierte Orte: Das Beispiel Tanga 5.2. Voraussetzungen der Kolonialgeographie: Hans Meyers Kilimandscharo-Expedition und die DOAG 5.3. Hybride Fotos I: Hans Meyers Fotografien der Chagga 6. Fotografien der Herrnhuter Mission 6.1. Repräsentative Orte: Das Beispiel der Missionsstation Rungwe und der Dörfer der Nyakyusa 6.2. Die Herrnhuter Mission und der Kolonialismus 6.3. Hybride Fotos II: Fotos von Missionaren, Konvertiten und den Nyakyusa 7. Mediale Sensationen aus den Kolonien in der 'Leipziger Illustirten Zeitung' 8. Exotische Genussversprechen Dresdner Unternehmen 9. Schluss und Ausblick Verwendete Literatur Verwendete Zeitschriften Abkürzungsverzeichnis Abbildungsverzeichnis Selbstständigkeitserklärung

Photo Album and its Transformation in Cyberspace Abstract My thesis deals with the difference in the perception of photo albums in the digital and analog era. Her goal is the reflection of change of a collection of a photographic material from an intimate information to a publicly accessible online self-presentation. This leads to the change in functionality of the photographical media which originally preserved the reality and now creates it. It's the excess of modification of modern photos which leads to the slow intentional return to the past back from the digital to the analog photography. Bc. Monika Pešavová

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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)

Title: Aesthetic perceptions on spectator's participation at the XXI Olympic Winter Games in Vancouver, Canada (through photography and mass media) Objective: The purpose of this study was to describe and analyze the group experience of Czech fans who participated as spectators at the XXI Winter Olympics in Vancouver as well as the documentation of this experience in the form of amateur photographic images which were taken during this international event. Variations in the quality of the fans' experience when watching sporting events through mass media, particularly on television, and when engaging in an authentic experience at a live event were also examined. Methods: To provide an overview of pertinent theory, existing literature was reviewed in order to compile data from which comparisons, analyses and syntheses were formed. For the following section concerning empirical information, a file of Czech persons who participated as spectators at the XXI Olympic Winter Games was created. Data was collected in an ethnographic approach. Descriptions utilized for the subsequent investigation of the group's viewing experience were compiled by means of observations documented by the researcher, as a participating member of the group, and through informal interviews which took place during and after the...

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.

NÁZEV: Portrait and identity in Art Education AUTOR: Zuzana Tomková, BcA. DEPARTMENT: Department of Art Education SUPERVISOR: Mgr. Zuzana Fišerová, Ph.D ABSTRACT: The goal of this diploma thesis is to create a didactic project applicable for various school types based on the knowledge from the chapter on theory. This work analyzes the evolution of portrait in the history of art, mainly photography. Further it delves into student identity and different approaches to it. The work also pursues the development of child artistic expression. Main focus is didactic project "How I perceive myself, how others perceive me" anchored in curricular papers followed by its analysis. A constituent part is an artistic chapter describing an author book "Us teachers" that pursues authors' seeking of own identity through her fellow students. Reproductions of the author book, copies of students' art works and a table analyzing these works can be found in appendix. KEYWORDS: Portrait; Selfportrait; Identity; Zuzana Tomková; Photography; Collage; Elememtary education; Jak se vidím já, jak mě vidí ostatní; "Us teachers"; 2018

KŘIŠTOVÁ, A.; Identity in photography and art education. [Master's Thesis] Prague 2018 - Charles University, Faculty of Education, Art Education Department, 110 pages. ABSTRACT This Master's Thesis explores the perception and position of identity in society in the context of history and present, based on the approaches of foreign authors dealing with the subject. The theme of identity is situated in the context of visual culture, the history of human portrayal within the visual arts and the portrait photography genre. The concept of the theoretical part is supported by selected authorities from the history of art culture as well as from the field of contemporary art. The theoretical part is the basis for the design of didactic assignments and their following implementation at elementary and secondary schools. Second basic point for the preparation of didactic assignments is obtained from experiences gained with authorial project realization. KEY WORDS: identity, society, visual culture, portrait, photography, digital image, manipulation, intervention

This master thesis focuses on the influences of the new medium of photography on the czech painting around 1900. An important part of such a topic is the role of the photography as a sketch for a painter. Another important question is, how was the impact of the visual form of photography on painting, for instance the use of photographic illusion in painting or the influences of chronophotography and moment photography. An important issue is an essential difference between photography and painting in colour. Photography widely extended the visual experience around 1900, as it enabled to fix the images from the area of science and pseudoscience. The question also is, how these new images influenced the painting. This theses also describes, how painters commented on the new medium and how they perceived the attempt of photography to become a legitime subject of fine art. Key words: painting, photography, fine art around 1900