Walter Benington (1872-1936) was a major British photographer, a member of the Linked Ring and a colleague of international figures such as F H Evans, Alfred Stieglitz, Edward Steichen and Alvin Langdon Coburn. He was also a noted portrait photographer whose sitters included Albert Einstein, Dame Ellen Terry, Sir Arthur Conan Doyle and many others. He is, however, rarely noted in current histories of photography. Beaumont Newhall’s 1937 exhibition Photography 1839-1937 at the Museum of Modern Art in New York is regarded by many respected critics as one of the foundation-stones of the writing of the history of photography. To establish photography as modern art, Newhall believed it was necessary to create a direct link between the master-works of the earliest photographers and the photographic work of his modernist contemporaries in the USA. He argued that any work which demonstrated intervention by the photographer such as the use of soft-focus lenses was a deviation from the direct path of photographic progress and must therefore be eliminated from the history of photography. A consequence of this was that he rejected much British photography as being “unphotographic” and dangerously irrelevant. Newhall’s writings inspired many other historians and have helped to perpetuate the neglect of an important period of British photography. As a result, the work of key photographers such as Walter Benington is now virtually unknown. Benington’s central involvement with the Linked Ring and his national and international exhibition successes demonstrate his significance within post-1890 British photography. Recent moves in the writing of histories of photography have called for the exploration of previously unknown archives and collections. A detailed examination of a cross-section of Benington’s work will illustrate that he was a photographer of great distinction and marked individuality fully worthy of a major reappraisal.

This research develops an understanding of the ‘view’ as a historicised and contemporary socio‐political mediation. What is posited as a view, and its signification, as a view, is how we experience, understand and relate to others and the world around us. The thesis offers a re‐interpretation of accepted modes of viewing, what is viewed, and a re­‐presentation of viewed imagery, in order to question and propose how might we better relate to, and function in, the production of social space. The premise of the enquiry is that the ‘view’, is a visual, spatial, and conceptual ideologically political position that shapes our relationship as citizens societally and to public space. The ‘image’ of, and as, a view, and point of view, permeates society. In our contemporary times of socio‐political instability, it becomes prescient to question the ‘view’, how it is constructed, and how it operates. The approach of this enquiry is interdisciplinary using a dialectic process of theoretical and practical sources. It draws on theories of space exploration, film studies, religion, photography, popular culture, geography, politics, contemporary visual culture, historical painting, architecture, and urban regeneration. The practice of lens‐based moving and still image, and the contexts within which the works have been created as research, are temporal and spatial. Journeys have been undertaken to acquire ‘views’ by hot-air balloon, by cable car, up tall buildings, by train, and by foot as a key method of investigation. The rhythm of the text in the thesis reflects this method of temporality, and spatiality. With the practice interlinked throughout, and with the text, in the guise of image inserts, the structure of each of the three chapters enacts a positionality from the perspective of a visual, spatial, and conceptual vantage point as a means of guiding the reader/viewer through the research.

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This thesis offers a close reading of Quentin Crisp’s auto/biographical representations, most particularly The Naked Civil Servant. Published in 1968, Crisp’s autobiography was dramatized for Thames Television in 1975, a film that would prove seminal in the history of British broadcasting and something of a ‘quantum leap’ in the medium’s representation of gay lives. As an interpretative study, it offers a scope of visual and narrative analyses that assess Crisp’s cultural figure – his being both an ‘icon’ in gay history and someone against which gay men’s normative sense of masculinity could be measured. According to particular thematic concerns that allow for the correspondent reading of the visual and the literary auto/biographical text, this thesis considers the reception of that image and the binary meanings of fashioning it embodies. It explores not the detailed materiality of Crisp’s figure but its effects – the life that his fashioning determined and the fashioning of that life in textual discourse and media rhetoric. Observing Crisp as a performer of the auto/biographical, the following themes are addressed: the biopic, its tropes and ‘the body too much’; desire, otherness and the ‘great dark man’; the circumscribed life of the art school model; the ‘exile’ of a Chelsea bedsit; and the drag of a queer dotage.

This thesis seeks to develop an aesthetics of spectacle in mainstream cinema. Whilst a significant amount of critical work has been undertaken on spectacle within the context of narrative theory, little attention has been paid to defining and analysing spectacle in itself and its place in the cinematic experience. Not only does this mean that a pervasive concept in film studies is left poorly defined and unconsidered, it also hampers an understanding of the nature of the cinematic experience itself. The central question addressed by the thesis is ‘What is the role of spectacle in the cinematic experience, with particular reference to mainstream cinema?’ This involves a consideration of the ways in which spectacle has been treated in theoretical terms to date. In particular, the contribution of cognitive approaches is critically assessed with a view to establishing a more inclusive framework that recognises the experiential nature of cinematic spectacle. In the light of this, the thesis proposes a new critical model for understanding spectacle, one based on a notion of transmission which presents narrative and spectacle as coexistent within the cinematic experience rather than as antithetical qualities. As another aspect of this, the thesis considers the historical development of spectacle in the context of spectatorship at the time of early cinema at the end of the nineteenth century. The latter part of the thesis applies its definition of spectacle to specific elements of the cinematic experience, namely the use of technology and miseen-scene. It thereby engages with the aesthetics of spectacle within particular contexts and conditions. This exercise makes it clear that far from being a marginalised element, as suggested by current narrative-centred film theory, spectacle is central to the cinematic experience.

MSc (Dentistry), Faculty of Health Sciences, University of the Witwatersrand, 2009 / Problem. One of the sources of inaccuracy in utilising the CEREC Chairside CAD/CAM system has been the difficulty of accurately positioning the intraoral camera relative to the path of insertion of the preparation and restoration. The degree of inaccuracy produced by variations in the angulation of the camera relative to the path of insertion is not known. Purpose. The purpose of this study was to first review the literature and history of CAD/CAM in dentistry, and the CEREC Chairside System in particular, and then to determine the errors that may result from changes in angulation of the camera in three dimensions. Further, to design a device which would help stabilise the camera to eliminate such errors. Method and Materials. A prefabricated Aesthetic Base Gold (ABG) Model was used and mounted on an articulator in order to simulate changes in angulation of each of the three dimensional axes which cause variations in roll, pitch, and yaw in the positioning of the camera. Images were captured for angle variations of 0°, 1°; 3°, 5°, 10°, 15° and 20° using the CEREC software on a crown preparation for tooth 24. The same software was used to make measurements on the resulting images to determine the mesio-distal, bucco-lingual orientation and the occlusal, internal shoulder and external shoulder dimensions. In addition, a quality assessment was carried out to observe any shadows, surface texture changes, margin discrepancies and ability to automatically complete the restoration with ease and accuracy. An intraoral stabilising device was designed that could be placed intraorally using polyvinyl siloxane putty. The ABG model was positioned to simulate quadrants 2 and 4 on crown iv preparation for tooth 24. Time to set up and place the device was recorded, and a Visual Analogue Scale was used to determine ease of use. Results. Difficulties were encountered in measurements of images where there was an angle deviation of greater than 5º, and so it was only possible to analyse the four angles of 0, 1, 3, and 5º. A three-way ANOVA revealed expected significant differences between the different measurements (as they are measuring different things) but there were no other significant differences. Thus neither the four different angles nor the three different axes had any influence on the readings. There was also consistency across the measurements, for every combination of the levels of the three factors (angle, measurement and axis). The stabilising device proved quick and easy to set up and place the silicone putty (less than 20 seconds) and the average VAS score for using the device improved by 25.3% when using the device in the lower, and by 36.4% when using the device in the upper arch. Conclusions. The angle of the camera relative to the path of insertion of the restoration should not exceed 3° for changes in Pitch, or 5° for changes in Roll and Yaw of the camera. The stability device designed during this study proved to be more convenient and accurate for data capture as it decreased the time of search and reduced both the internal and external factors which interfere with data capture.

The aim of this research was to establish a new style of AV performance that facilitated me in knowingly steering audience engagement. My interest in steering engagement stems from the intent I have with my performances; an intent to encourage audiences into considered thought about the topics I bring to my shows. As practice-based research, a series of performances formed its basis, with each adapted toward establishing a new style. I introduced audience conversations to my performances, doing so in real-time by harnessing the audience's second-screens. In this way, their smartphones facilitated spontaneous collaboration between the audience and I; in turn this gave me a way to steer them toward thinking about the themes behind my performances. By then bringing this style of performance to the context of live debate, a new paradigm emerged; one that challenges the audience to participate in shaping the emergent audio-visual event. I had to develop the capacity to monitor audience engagement, first online with the `video-cued commentary' and then in real-time via two different `audience-commentary systems'. This may be of interest to anyone engaging in forms of audience analysis or viewer studies. How I developed second-screen systems may be of interest to designers of phone-network-based social-media commentary platforms. My effort toward simplifying how I generated audio-visual content and how I controlled it on-stage may make this research of interest to other digital-media performers and installation-designers.

Using a practice-based method, the outcome of this research is a trilogy of films looking at three post-war modern prototype houses built by British architects. The examples chosen are: H.T. 'Jim' and Betty Cadbury-Brown's 3 Church Walk; Aldeburgh, Suffolk (1962); John Penn's Beach House, Shingle Street, Suffolk (1969) and Richard and Su Rogers' Spender House and Studio, near Maldon, Essex (1968). With each of the films a house is reconstructed on film, reactivating the architectural space as filmic space. The films explore the interaction between architectural space and its filmic translation using artists' film and moving image practice as a method to examine how the relationship between moving image and sound can activate architectural space to create a sensory experience on film, and to determine how the physical traces remaining contribute to new possible readings of the architectural examples considered. The combined research project and the films examine two architectures that are inhabited simultaneously: physical architectural space and filmic architectural space. Techniques and conventions of both documentary and artists' film and moving image practices such as critical and reflexive filmmaking, direct observation, archive research materials, sound composition from location recording and archive sound are used to rework space in filmic terms. Taking an individually tailored approach to each of the soundtracks of the films highlights the role of sound in activating architectural space on film. Following the premise of the house as a phenomenological concept set out by Gaston Bachelard and examining Giuliana Bruno's notion of the film viewer as voyageur as opposed to voyeur, the shift from optic to haptic is explored through my practice to examine how an architectural space can be translated to film in a way that goes beyond functional description into the realm of the poetic, narrative and the event. Several case studies of artists' films by Heinz Emigholz, Elizabeth Price, Man Ray and John Smith that take the modern house as subject are analysed to demonstrate a range of approaches to articulating space on film. How each one allows for a particular reading or understanding that operates outside of the official historical narratives of modern architecture is discussed. In the context of wider research into the interrelationships between film and architecture and the role moving image and sound play in interpretations of architectural space, this project shows how this practice-based method arrives at a contribution to knowledge of the particular buildings chosen, and how this method contributes to current readings of the modern house in film. New knowledge is generated on each of the case study buildings as evidenced through the films, which are an artistic response to each of the houses and through the writing, which gives a historical, theoretical and formal context to the works produced. In capturing these houses lost to architectural history, reactivating the spaces through moving image and sound the films, both individually and as a trilogy are a contribution to knowledge. Each acts as a record of a significant example of 1960s design at a moment in its history, adding to the archive of each and providing material for further research in the area.

Este trabalho analisa a fotografia urbana e de arquitetura com base no álbum São Paulo fastest growing city in the world, de autoria de Peter Scheier, editado em 1954 no contexto das comemorações do quarto centenário da cidade de São Paulo. Scheier insere-se em uma das linhas mais frutíferas da moderna fotografia brasileira, junto com outros refugiados da Segunda Guerra Mundial, como Hans Günter Flieg, Hildegard Rosenthal, Alice Brill, Curt Schulze e Fredi Kleemann. O álbum traz conteúdo informacional extenso, não só sobre a cidade na década de 1950, mas também a respeito de Peter Scheier, uma vez que foi elaborado a partir de material de seu arquivo fotografias publicadas nas revistas O Cruzeiro e Habitat e no livro Modern Architecture in Brazil, produzidas para o MASP, do qual era fotógrafo oficial, e fotografias sem fins de publicação. O objetivo é, através da análise de Peter Scheier, compreender a dinâmica da atividade dos fotógrafos que atuavam em São Paulo em meados do século XX. / This work analyzes the urban and architectural photography based on the album São Paulo fastest growing city in the world, by Peter Scheier, edited in 1954 in the context of celebration of the fourth century of the city of São Paulo. Scheier is part of one of the most fertile line of the Brazilian modern photography, together with other Second World War refugees, for instance: Hans Günter Flieg, Hildegard Rosenthal, Alice Brill, Curt Schulze and Fredi Kleemann. The album has extent informational content, not only about the city in the 1950s, but also about Peter Scheier, by being elaborated with material from his archive photographs published in O Cruzeiro and Habitat magazines and in the book Modern Architecture in Brazil; made for MASP, for which he was the official photographer, and photos without publication purpose. The aim is to understand the dynamics of the activity of the photographers who worked in São Paulo in the middle of the XX century, by the analysis of Peter Scheier.

Chu Wing-yin. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1999. / Includes bibliographical references (leaves 156-158). / Abstracts in English and Chinese. / ABSTRACT --- p.ii-iii / ACKNOWLEDGEMENT --- p.iv / Chapter PART I --- INTRODUCTION / Chapter Chapter 1 --- p.1 / Chapter PART II --- THEORETICAL FRAMEWORK / Chapter Chapter 2 --- """Frame"" as the Key Concept" --- p.16 / Chapter Chapter 3 --- "The Role of Communication in Constructing Photographic Setting and ""Frame""" --- p.29 / Chapter PART III --- METHODOLOGY / Chapter Chapter 4 --- Procedures of Data Collection and Analysis --- p.46 / Chapter PART IV --- DATA INTERPRETATION / Chapter Chapter 5 --- "Dividing One's Life Experiences Into ""Frame"" of Photographs" --- p.61 / Chapter Chapter 6 --- "How One's Life Story Can Be Told in Photographic ""Frame""? - Establishing Relationships in the Photographic World" --- p.76 / Chapter Chapter 7 --- "The Process of Constructing Camera's ""Frame"" - Interactions and Negotiations Between Actors" --- p.111 / Chapter PART V --- CONCLUSIONS / Chapter Chapter8 --- p.148 / REFERENCES --- p.156