This thesis is an attempt at understanding South African photography through the lens of Nontsikelelo “Lolo” Veleko, Tracy Rose, David Goldblatt, Jo Ractliffe and Santu Mofokeng. Through the works discussed this thesis intends to unpack photography as a complex medium similar to that of language and text, as well as attempt to understand how exploring South African experiences and spaces through the lens of photography shapes and mediates them. Furthermore it also attempts to understand how these experiences and spaces conversely affect the discourse of photography or at the very least our perception of it. Through these photographers and their works it is hoped that ultimately the interconnected relationship of exchanging codes that takes place between photography and society will be highlighted. The example of connectivity or dialogue I believe exists between the medium of photography and the physical/social and psychological spaces it photographs will be mediated through Deleuze and Guattari‟s conception of “the wasp and the orchid” where “the wasp becomes the orchid, just as the orchid becomes the wasp...an exchanging or capturing of each other‟s codes”. Other theorists I will be looking at include Vilém Flusser, focusing in particular on his book Towards a Philosophy of Photography, as well as Susan Sontag, Roland Barthes and others. The main aims and objectives of this thesis are to understand the veracity of the documentary image and whether or not the image harbours any objective truth, as well as whether truth, if it can truly be said to exist in the world, resides between the camera and the seen world. This dichotomy is further complicated by the matter of subject-hood and technical and philosophical understandings of the camera as an apparatus. At no point do I aim to be conclusive, rather it is hoped that by developing the dynamic tension between the theory and the image world that I will be able to bring fresh insight into the reading of a changing South African condition and the subject position of the photographer in relation to this condition.

O objetivo desta tese de doutorado é discutir se há um olhar judaico expresso em fotografias, produzidas no Brasil, por autores com ligações com o Judaísmo, e como ele se manifesta. A hipótese da pesquisa é que ele existe, mas, sem poder ser caracterizado por uma regra geral, deve ser encontrado na análise de casos singulares, considerando, por exemplo, como a estrangeridade dos autores se reflete em suas imagens. Para confirmar essa suposição, serão apresentadas a vida e interpretadas as obras de cinco fotógrafos, nascidos na Alemanha, exilados no Brasil em razão da ascensão do nazifascismo; quatro deles são judeus Alice Brill, Werner Haberkorn, Hans Gunter Flieg e Peter Scheier e uma casou-se com um judeu Hildegard Rosenthal. Todos registraram a cidade de São Paulo, sendo essas imagens o foco da análise, exceto no caso de Flieg, cujas fotos a serem estudadas serão as industriais, pois são as mais importantes de sua produção. Esses autores, de identidade híbrida, expressaram um olhar estrangeiro à realidade que retrataram, utilizando estilos modernos importados da Europa, tais como a Nova Visão, a Nova Objetividade e a Estética da Máquina, contribuindo, assim, enormemente, para inovar a fotografia brasileira. / The purpose of this doctoral thesis is to discuss whether there is a Jewish view expressed in photographs, produced in Brazil, by authors with links to Judaism, and how it manifests itself. The hypothesis of the research is that it exists, but, without being able to be characterized by a general rule, it must be found in the analysis of singular cases, considering, for example, how the authors\' estrangement is reflected in their images. In order to confirm this assumption, life will be presented and the works will be interpreted of five photographers, born in Germany, exiled in Brazil because of the rise of Nazism; four of them are Jewish Alice Brill, Werner Haberkorn, Hans Gunter Flieg and Peter Scheier and one married to a Jew Hildegard Rosenthal. All registered the city of São Paulo, being these images the focus of the analysis, except in the case of Flieg, whose photos to be studied will be the industrial ones, since they are the most important of his production. These authors, with a hybrid identity, expressed a foreign look at the reality they portrayed, using modern styles imported from Europe, such as the New Vision, New Objectivity and Machine Aesthetics, contributing enormously, thus, to innovate Brazilian photography.

Thesis (MPhil (Journalism))--University of Stellenbosch, 2009. / There are certain images of war that are horrific, frightening and at the same time, due to an outstanding compositional structure, they are fascinating and do not allow its observers to keep their distance. This thesis examines three images of war that have often been described as icons of war photography. The images “children fleeing a napalm strike” by Nick Ut, “the falling soldier” by Robert Capa and Sam Nzima’s photograph of Hector Pieterson are historical reference images that came to represent the wars and conflicts in which they were taken. It has been examined that a number of different factors have an impact on a war photograph’s awareness level and its potential to commit itself to what is referred to as collective consciousness. Such factors are the aesthetical composition and outstanding formal elements in connection with the exact moment the photograph was taken, ethical implications or the forcefulness of the event itself. As it has been examined in this thesis, the three photographs have achieved iconic status due to different circumstances and criteria and they can be described as historical reference images representing the specific wars or conflicts. In this thesis an empirical study was conducted, questioning 660 students from Spain, South Africa and Vietnam about their awareness level regarding the three selected photographs. While the awareness level of the Spanish and the South African image was rather high in the countries of origin, they did not achieve such a high international awareness level as the Vietnamese photograph by Nick Ut, which turned out to be exceptionally well-known by all students questioned. Overall, findings suggest that the three selected icons of war photography have been anchored in collective memory. Ut, Robert Capa, Sam Nzima, semiotics, Spanish Civil War, the falling soldier, Vietnam War

Este artículo utiliza el Análisis de Redes Sociales (ARS) como herramienta en la investigación de nuevas informaciones sobre la red de fotógrafos de la construcción de Brasilia. Así como fue con laciudad, la red también está en construcción, debiendo ser complementada con entrevistas personales. La fotografía, mientras documento, presenta características propias. Para que pueda ser utilizada como información es necesario darle organicidad. Esa, comprendida en el contexto de su producción, clasificación, almacenamiento, preservación, tutela, recuperación, reproducciones, etc.La ARS es una metodología originada de la Sociología y pasible de métricas. Se presenta como unaherramienta capaz de revelar informaciones subjetivas y ausentes en acervos formalizados, o no. Enespecial, conexiones entre actores que, no sólo profundizan la cuestión de la organicidad de fotografías, como también contribuyen para el contexto social, político y económico de la época. / Este artigo utliza a Análise de Redes Sociais (ARS) como ferramenta na pesquisa de novas informaçõessobre a rede de fotógrafos da construção de Brasília. Assim como foi com a cidade, a rede também estáem construção, devendo ser complementada com entrevistas pessoais. A fotografia, enquantodocumento, apresenta características próprias. Para que possa ser utilizada como informação énecessário dar‐lhe organicidade. Essa, compreendida no contexto de sua produção, classificação,armazenamento, preservação, tutela, recuperação, reproduções, etc. A ARS é uma metodologiaoriginada da Sociologia e passível de métricas. Apresenta‐se como uma ferramenta capaz de revelarinformações subjetivas e ausentes em acervos formalizados, ou não. Em especial, ligações entreatores que, não apenas aprofundam a questão da organicidade de fotografias, como tambémcontribuem para o contexto social, político e econômico da época. / This paper uses Social Network Analysis (SNA) as a tool in the research of new information on the network about photographers of the Brasilia building. As it was with the city, the network is also under construction and should be supplemented with personal interviews. The photograph asdocument presents her own characteristics. To be used as information is necessary to give itorganicity. This understood in the context of its production, classification, storage, preservation, protection, restoration, reproductions, etc. The SNA is a methodology originated from Sociology. It ispresented as a tool capable of revealing subjective information and gaps in collections formalized or not. In particular, links between actors, not only deepening the question of organicity documentimagery, but also contributing to the social, political and economic historical period.

O objetivo desta tese de doutorado é discutir se há um olhar judaico expresso em fotografias, produzidas no Brasil, por autores com ligações com o Judaísmo, e como ele se manifesta. A hipótese da pesquisa é que ele existe, mas, sem poder ser caracterizado por uma regra geral, deve ser encontrado na análise de casos singulares, considerando, por exemplo, como a estrangeridade dos autores se reflete em suas imagens. Para confirmar essa suposição, serão apresentadas a vida e interpretadas as obras de cinco fotógrafos, nascidos na Alemanha, exilados no Brasil em razão da ascensão do nazifascismo; quatro deles são judeus Alice Brill, Werner Haberkorn, Hans Gunter Flieg e Peter Scheier e uma casou-se com um judeu Hildegard Rosenthal. Todos registraram a cidade de São Paulo, sendo essas imagens o foco da análise, exceto no caso de Flieg, cujas fotos a serem estudadas serão as industriais, pois são as mais importantes de sua produção. Esses autores, de identidade híbrida, expressaram um olhar estrangeiro à realidade que retrataram, utilizando estilos modernos importados da Europa, tais como a Nova Visão, a Nova Objetividade e a Estética da Máquina, contribuindo, assim, enormemente, para inovar a fotografia brasileira. / The purpose of this doctoral thesis is to discuss whether there is a Jewish view expressed in photographs, produced in Brazil, by authors with links to Judaism, and how it manifests itself. The hypothesis of the research is that it exists, but, without being able to be characterized by a general rule, it must be found in the analysis of singular cases, considering, for example, how the authors\' estrangement is reflected in their images. In order to confirm this assumption, life will be presented and the works will be interpreted of five photographers, born in Germany, exiled in Brazil because of the rise of Nazism; four of them are Jewish Alice Brill, Werner Haberkorn, Hans Gunter Flieg and Peter Scheier and one married to a Jew Hildegard Rosenthal. All registered the city of São Paulo, being these images the focus of the analysis, except in the case of Flieg, whose photos to be studied will be the industrial ones, since they are the most important of his production. These authors, with a hybrid identity, expressed a foreign look at the reality they portrayed, using modern styles imported from Europe, such as the New Vision, New Objectivity and Machine Aesthetics, contributing enormously, thus, to innovate Brazilian photography.

In this essay we follow a professional female photographer on the island of Gotland in Sweden around the turn of the twentieth century. The story of Laura Stenman’s life has for a long time been hidden, but through literature- and archival studies, her biographical story was pieced together and revealed during the winter of 2019. Through this essay her family life and photographic work has emerged. In parallel, a piece of the history of photography and the first photographers on Gotland are revealed.  The essay highlights the educational opportunities and advice available to those interested in photography at this time. It also describes the photographic studios that Laura Stenman and her second husband worked in. How the studio was planned and what inventories you would find in them. It also describes which assignments were the most common, which customers they had, how they communicated with the customers and how they found new ones. The economic conditions and aspects both for the photographer and the person to be portrayed, were of the utmost importance, and this is also being discussed. Some of the photographic pictures that Laura Stenman made were found and studied in detail in order to find patterns in her work. The essay also highlights how both the married and unmarried women were affected by changes in two big reforms in Sweden. First in 1846 when new opportunities arose for those who wanted to carry on activities in the craft profession, and second in 1864 when a business freedom regulation was introduced. Laura Stenman was married twice an both marriages changed her life and her history in different directions which is also being discussed throughout the essay. / I denna uppsats får vi följa en kvinnlig yrkesverksam fotograf på Gotland under sekelskiftet 1900. Laura Stenmans historia var länge dold men genom litteratur- och arkivstudier pusslades hennes biografiska skelett under vintern 2019 åter samman. En bild av hennes familjeliv och fotografiska arbete utkristalliserade sig. Parallellt har frågor om när fotokonsten och fotograferna egentligen kom till Gotland och vilka de första fotograferna var, besvarats. Vilka utbildningsmöjligheter och råd fanns för den intresserade vid denna tid?Arbetet beskriver de fotoateljéer som Laura Stenman och hennes andra man var aktiva i. Vart de byggdes upp, hur de planerades, fungerade och vad som fanns i dem. Även vilka fotografernas vanligaste uppdrag var, vilka kunder de hade, hur de kommunicerade med dem och hittade nya. De ekonomiska förutsättningarna och aspekterna både för fotografen och den som skulle låta sig avporträtteras var av allra största vikt vilket också diskuteras. Ett antal fotografiska visitkort som Laura Stenman lämnat efter sig studerades närmare. Vid 1846 års reform avskaffades skråväsendet i Sverige vilket gav nya möjligheter för den som ville bedriva verksamhet inom hantverksyrken och 1864 infördes sedan näringsfrihetsförordning. Uppsatsen lyfter hur både gifta och ogifta kvinnor påverkades av detta. Laura Stenman själv var gift två gånger och dessa giftermål påverkade hennes liv och historieskrivning i olika riktningar vilket har diskuterats genom hela arbetet.

Transparencies: New Zealand from 1953 to 1974 through the Slide Photography of Gladys Cunningham This thesis focuses on the amateur slide photography of Gladys Cunningham, formerly of Onehunga, Auckland. Viewed collectively, these slides provide a visual autobiography of a New Zealand woman’s life, as well as a larger social narrative. As Gladys’s granddaughter, I argue that Gladys’s 35mm colour transparencies, nostalgic fragments that memorialise a family history, are informed by the social history of European New Zealanders between the early 1950s and early 1970s. Gladys’s slides reflect stabilities and changes for the photographer herself, her family and New Zealand society. While the term “transparency” suggests that the meaning of a slide can be understood by all, in reality further contextual information is necessary to appreciate the family and public histories from which these scenes have been separated. To situate Gladys’s slides, I refer to popular magazines and tourist texts from this period, including The Weekly News, National Geographic and New Zealand Holiday, and to commercial slides, postcards and travel marketing texts. I analyse the near absence of Maori within Gladys’s slides and travel journalism, suggesting that their omissions represent a lack of dialogue between Pakeha and Maori. In New Zealand and overseas, slide photography was the popular medium for recording extraordinary family events during the 1950 and 1960s. Through an analysis of memory, leisure and photography, this study examines how Gladys’s photography documents family and community membership and celebration. I explore how aesthetically pleasing representations of family leisure also contain partly concealed clues to less positive memories and to secrets that were not unique to this family. I discuss the impact of private and public transport on Gladys’s slide photography, noting how car travel facilitated spatial and temporal freedoms, and how slide photography strengthened connections to extended family and distant communities. In contrast, Gladys and Jim’s later dependence on coach transport enhanced their ability to take slides and expanded the “family” gaze of their camera, but limited their photographic opportunities.

Transparencies: New Zealand from 1953 to 1974 through the Slide Photography of Gladys Cunningham This thesis focuses on the amateur slide photography of Gladys Cunningham, formerly of Onehunga, Auckland. Viewed collectively, these slides provide a visual autobiography of a New Zealand woman’s life, as well as a larger social narrative. As Gladys’s granddaughter, I argue that Gladys’s 35mm colour transparencies, nostalgic fragments that memorialise a family history, are informed by the social history of European New Zealanders between the early 1950s and early 1970s. Gladys’s slides reflect stabilities and changes for the photographer herself, her family and New Zealand society. While the term “transparency” suggests that the meaning of a slide can be understood by all, in reality further contextual information is necessary to appreciate the family and public histories from which these scenes have been separated. To situate Gladys’s slides, I refer to popular magazines and tourist texts from this period, including The Weekly News, National Geographic and New Zealand Holiday, and to commercial slides, postcards and travel marketing texts. I analyse the near absence of Maori within Gladys’s slides and travel journalism, suggesting that their omissions represent a lack of dialogue between Pakeha and Maori. In New Zealand and overseas, slide photography was the popular medium for recording extraordinary family events during the 1950 and 1960s. Through an analysis of memory, leisure and photography, this study examines how Gladys’s photography documents family and community membership and celebration. I explore how aesthetically pleasing representations of family leisure also contain partly concealed clues to less positive memories and to secrets that were not unique to this family. I discuss the impact of private and public transport on Gladys’s slide photography, noting how car travel facilitated spatial and temporal freedoms, and how slide photography strengthened connections to extended family and distant communities. In contrast, Gladys and Jim’s later dependence on coach transport enhanced their ability to take slides and expanded the “family” gaze of their camera, but limited their photographic opportunities.

Transparencies: New Zealand from 1953 to 1974 through the Slide Photography of Gladys Cunningham This thesis focuses on the amateur slide photography of Gladys Cunningham, formerly of Onehunga, Auckland. Viewed collectively, these slides provide a visual autobiography of a New Zealand woman’s life, as well as a larger social narrative. As Gladys’s granddaughter, I argue that Gladys’s 35mm colour transparencies, nostalgic fragments that memorialise a family history, are informed by the social history of European New Zealanders between the early 1950s and early 1970s. Gladys’s slides reflect stabilities and changes for the photographer herself, her family and New Zealand society. While the term “transparency” suggests that the meaning of a slide can be understood by all, in reality further contextual information is necessary to appreciate the family and public histories from which these scenes have been separated. To situate Gladys’s slides, I refer to popular magazines and tourist texts from this period, including The Weekly News, National Geographic and New Zealand Holiday, and to commercial slides, postcards and travel marketing texts. I analyse the near absence of Maori within Gladys’s slides and travel journalism, suggesting that their omissions represent a lack of dialogue between Pakeha and Maori. In New Zealand and overseas, slide photography was the popular medium for recording extraordinary family events during the 1950 and 1960s. Through an analysis of memory, leisure and photography, this study examines how Gladys’s photography documents family and community membership and celebration. I explore how aesthetically pleasing representations of family leisure also contain partly concealed clues to less positive memories and to secrets that were not unique to this family. I discuss the impact of private and public transport on Gladys’s slide photography, noting how car travel facilitated spatial and temporal freedoms, and how slide photography strengthened connections to extended family and distant communities. In contrast, Gladys and Jim’s later dependence on coach transport enhanced their ability to take slides and expanded the “family” gaze of their camera, but limited their photographic opportunities.

Transparencies: New Zealand from 1953 to 1974 through the Slide Photography of Gladys Cunningham This thesis focuses on the amateur slide photography of Gladys Cunningham, formerly of Onehunga, Auckland. Viewed collectively, these slides provide a visual autobiography of a New Zealand woman’s life, as well as a larger social narrative. As Gladys’s granddaughter, I argue that Gladys’s 35mm colour transparencies, nostalgic fragments that memorialise a family history, are informed by the social history of European New Zealanders between the early 1950s and early 1970s. Gladys’s slides reflect stabilities and changes for the photographer herself, her family and New Zealand society. While the term “transparency” suggests that the meaning of a slide can be understood by all, in reality further contextual information is necessary to appreciate the family and public histories from which these scenes have been separated. To situate Gladys’s slides, I refer to popular magazines and tourist texts from this period, including The Weekly News, National Geographic and New Zealand Holiday, and to commercial slides, postcards and travel marketing texts. I analyse the near absence of Maori within Gladys’s slides and travel journalism, suggesting that their omissions represent a lack of dialogue between Pakeha and Maori. In New Zealand and overseas, slide photography was the popular medium for recording extraordinary family events during the 1950 and 1960s. Through an analysis of memory, leisure and photography, this study examines how Gladys’s photography documents family and community membership and celebration. I explore how aesthetically pleasing representations of family leisure also contain partly concealed clues to less positive memories and to secrets that were not unique to this family. I discuss the impact of private and public transport on Gladys’s slide photography, noting how car travel facilitated spatial and temporal freedoms, and how slide photography strengthened connections to extended family and distant communities. In contrast, Gladys and Jim’s later dependence on coach transport enhanced their ability to take slides and expanded the “family” gaze of their camera, but limited their photographic opportunities.