Gideon Mendel’s ongoing photographic work documenting HIV/ AIDS, first started in 1993, has seen shifts not only in production but also in the author’s representation of his subjects. This paper looks at three texts of Mendel’s work, taken from three different stages of Mendel’s career and reads the shifting paradigm taking Mendel from photojournalist to activist armed with documentary photography as a tool of social change. This thesis explores how different positionings as an author and different representations of the subjects, living and dying, with HIV/AIDS influences meaning-making, and what that means for documentary photography as a tool of social change.

<p dir="ltr">This research aims to explore insights to decision makers on how gender imbalance can affect individuals, and the organizations involved in news production. This article focuses primarily on the difficulties encountered by female photojournalists working in Ghanaian media organizations. This study aims to identify the barriers faced by females in the sector and identify organizational elements that may have an impact on the proportion of female professionals in the area. Females who work in this field are underpaid and face additional challenges. Data was gathered from a sample of twelve female photojournalists in Ghana utilizing online interviews as part of a qualitative research project. The purpose of the study is to determine the common experiences and difficulties faced by female photojournalists and the impact those experiences have had on both the organization and the person. The study also investigated how female photojournalists are coping with the popular perception that photojournalism is a male-dominated field. Findings confirm several challenges that female photojournalists—both independent contractors and those employed by media organizations—face. These issues were categorized into broader themes, such as harassment, discrimination, lack of representation, and gender bias. Findings contribute to the current understanding of difficult experiences among female photojournalists, as well as inform the development of interventions to support female photojournalists in managing their hurdles and developing some coping mechanisms. Implications with respect to theory and practice are discussed.</p>

Obwohl das dokumentarische Bild als beglaubigte Aufzeichnung einer außermedialen Realität als Diskursgegenstand bereits seit Längerem dekonstruiert ist, scheint die Faszination am Dokumentarischen nahezu ungebrochen. Die stete Bezugnahme auf das Dokumentarische in unterschiedlichen Diskursen der Fotografie zeugt davon. Auch zahlreiche künstlerische Auseinandersetzungen rekurrieren seit den 80er-Jahren verstärkt auf dokumentarische Konzepte und Formate. Ausgehend von diesem Paradoxon, der Dekonstruktion des Dokumentarischen in Theoriekontexten und dem Wiedererstarken dokumentarischer Formate in der Fotografie und Kunst, sucht die vorliegende Arbeit nach den Ursachen einer offenkundig anhaltenden Faszination am Dokumentarischen. Dabei richtet sie den Blick speziell auf künstlerische Fotografien, die Gebrauchsweisen der Fotografie aufgreifen, welche per se mit dem Dokumentarischen affiziert werden, wie die Pressefotografie, die kriminalistische Fotografie und die Amateurfotografie. Sie zeigt, über welche Strategien das Dokumentarische dort produktiv umgesetzt wird. Lässt sich jeder Dokumentarismus erst einmal als Versuch lesen, in der Repräsentation das Reale zu verbildlichen, beziehen sich die vorgestellten künstlerischen Arbeiten von Jeff Wall, Thomas Demand, Sophie Calle und Richard Billingham zwar auf ein Begehren nach dem Realen, machen aber gleichzeitig den Verlust des Realen in ihren Erzählungen von der Wirklichkeit erfahrbar. In ihrer Ambivalenz vermitteln die künstlerischen Arbeiten ein Konzept des Dokumentarischen als mobiles System, das dieses nicht als Kategorie, Genre oder Stil festschreibt, sondern als Handlung begreift, die das permanente Ineinandergreifen von Konstruktion und Dekonstruktion des Dokumentarischen nachvollzieht. Insofern erweisen sich die Kunst und das Dokumentarische als nicht polar, denn über ihre Beziehung zum Realen kristallisiert sich dieses als das gemeinsame Dritte der beiden heraus. / Although the documentary image as authenticated record of a reality beyond the media has, as the object of discourse, long been deconstructed, the fascination with the documentary would appear to be ongoing. The constant references to the documentary in a variety of photography discourses bears witness to this. In addition, countless artistic treatments since the Eighties have referred back to documentary concepts and formats. In the light of this paradox as well as the deconstruction of the documentary in theoretical contexts and the renewed gaining of strength of documentary formats in photography and art, this study investigates the reasons for the evident persistent fascination with the documentary. In the process, artistic photographs in particular are examined which reference conventions in photography that are associated per se with the documentary, such as for example press photography, criminalistic photography, and amateur photography. The strategies by which the documentary is productively implemented are demonstrated here. If every form of documentarism can be read first of all as an attempt to express the real visually in the representation, then the artistic works by Jeff Wall, Thomas Demand, Sophie Calle and Richard Billingham that are presented here may indeed reference a desire for the real, but at the same time they make it possible in their telling of reality to experience the loss of the real. It is through their ambivalence that the artistic works convey a concept of the documentary as a mobile system that does not codify it as a category, genre or style, but rather perceives it as an act that comprehends the documentary''s constant intertwining of construction and deconstruction. As such, it is shown that art and the documentary are not polar, because through their relationship to reality this relationship is shown to crystalize out as the common third party for both.

A travers l’étude de l’œuvre du cinéaste Roman Karmen, nous souhaitons reconstituer un patrimoine et tenter d’en définir les enjeux autour de questions historiographiques. En effet, les images de l’opérateur soviétique n’ont pas seulement marqué l’histoire du XXème, elles ont en partie contribué à la construire en un objet unique. Les propriétés métonymiques de l’image (photographies et prises de vues) ont bouleversé notre perception en même temps qu’elles ont participé à la construction d’un récit historique général d’un nouvel ordre. Il s’agit d’un récit visuel complexe où se mêlent prises de vues sur le vif et mises en scène, motifs et emblèmes, personnages principaux, personnages secondaires et masses anonymes. Disséminées, ces prises de vues constituent le principal réservoir d’images dites d’archives dont se servent régulièrement les documentaristes contemporains pour faire « témoigner l’Histoire ». Retracer le parcours de Karmen permet de revenir aux sources de ces images, de comprendre leurs enjeux, leurs contextes de production et leurs rapports au sein d’une œuvre dont le récit se confond avec l’Histoire. Nous faisons ici l’hypothèse que ce récit constitué de prises de vues, d’actualités et de films documentaires est à l’origine « d’une vulgate soviétique de l’Histoire ». / With the study of Roman Karmen’s cinematographic work, we want to retrace a heritage and to identify its implications through an historiographical approach. Not only did the Soviet filmmaker’s images go down in history but they also contributed to shape the twentieth century into a single object. Indeed, the metonymic properties of Karmen’s shootings (cinematographic photography and live action) upset our perception and contributed to build an historical account that sustains a new order. It is a complex visual narrative bringing together live action and staging, subjects and emblems, main characters, secondary characters and anonymous masses. Disseminated, Roman Karmen’s work is the main reservoir of “archival images” often used by contemporary documentary filmmakers as a mean to present “first-hand History”. Following Roman Karmen’s artistic itinerary allows us to gain a better understanding of these images: their initial purposes, their making process, and their relationships in a work within which story merges with History. We assume that this narrative consisting of pictures, cinematic newsreels, and documentary films shaped the “Soviet vulgate of history”.

<p>En undersökning av vinnarbilderna i World Press Photo of the Year mellan 1999-2008. World Press Photo är världens största fototävling och är prestigefylld att vinna för pressfotografer. Syftet var att undersöka vad de senaste årens bildjournalistik förmedlar till sina betraktare genom nyhetsbilderna som vunnit World Press Photo of the Year under 2000-talet. Syftet har förgrenat sig i frågeställningarna:</p><p>Vilka teman har vinnarbilderna i World Press Photo of the Year mellan 1999-2008?</p><p>Vad förmedlar innehållet i bilderna?</p><p>Vad finns det för likheter och skillnader mellan bilderna?</p><p>Studien är en kvalitativ undersökning där vi gjort bildanalyser av vinnarbilderna i World Press Photo of the Year mellan 1999-2008. Vi har använt oss av semiotisk och retorisk bildanalys. Resultaten visar att vinnarbilderna som representerar det bästa inom bildjournalistiken visar ett begränsat antal teman, krig, sociala problem och fattigdom samt naturkatastrofer. De flesta bilderna är från Asien och framförallt Mellanöstern. Bilderna är negativt laddade och människorna på bilderna visar oftast sorg och lidande.</p>

En undersökning av vinnarbilderna i World Press Photo of the Year mellan 1999-2008. World Press Photo är världens största fototävling och är prestigefylld att vinna för pressfotografer. Syftet var att undersöka vad de senaste årens bildjournalistik förmedlar till sina betraktare genom nyhetsbilderna som vunnit World Press Photo of the Year under 2000-talet. Syftet har förgrenat sig i frågeställningarna: Vilka teman har vinnarbilderna i World Press Photo of the Year mellan 1999-2008? Vad förmedlar innehållet i bilderna? Vad finns det för likheter och skillnader mellan bilderna? Studien är en kvalitativ undersökning där vi gjort bildanalyser av vinnarbilderna i World Press Photo of the Year mellan 1999-2008. Vi har använt oss av semiotisk och retorisk bildanalys. Resultaten visar att vinnarbilderna som representerar det bästa inom bildjournalistiken visar ett begränsat antal teman, krig, sociala problem och fattigdom samt naturkatastrofer. De flesta bilderna är från Asien och framförallt Mellanöstern. Bilderna är negativt laddade och människorna på bilderna visar oftast sorg och lidande.

This study reports the findings of a systematic visual content analysis of 356 randomly sampled images published about the Iraq War in Time, Newsweek, and U.S. News and World Report from 2003-2009. In comparison to a 1995 Gulf War study, published images in all three newsmagazines continued to be U.S.-centric, with the highest content frequencies reflected in the categories U.S. troops on combat patrol, Iraqi civilians, and U.S. political leaders respectively. These content categories do not resemble the results of the Gulf War study in which armaments garnered the largest share of the images with 23%. This study concludes that embedding photojournalists, in addition to media economics, governance, and the media-organizational culture, restricted an accurate representation of the Iraq War and its consequences. Embedding allowed more access to both troops and civilians than the journalistic pool system of the Gulf War, which stationed the majority of journalists in Saudi Arabia and allowed only a few journalists into Iraq with the understanding they would share information. However, the perceived opportunity by journalists to more thoroughly cover the war through the policy of embedding was not realized to the extent they had hoped for. The embed protocols acted more as an indirect form of censorship.