Orientador: Cristina Bruzzo / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-17T02:00:45Z (GMT). No. of bitstreams: 1 Guadagnuci_Joyce_M.pdf: 51336514 bytes, checksum: 23c7035c2a50c5c5cc7f96210dbaaadd (MD5) Previous issue date: 2010 / Resumo: O presente trabalho compreende um estudo, deflagrado por uma inquietação em relação aos conceitos e regras que definem o fotojornalismo, sobre o livro de fotografias Canudos 100 anos, de Evandro Teixeira. Metodologicamente, a pesquisa foi dividida em quatro capítulos. O primeiro faz, a partir da observação de questões históricas e conceituais, uma reflexão sobre a origem dos padrões e convenções que delineiam o gênero fotojornalismo, para, em seguida, realizar a desmontagem desses padrões. No capítulo dois, longe da classificação a qual o livro estava enquadrado, são empreendidas aproximações das fotografias de Canudos 100 anos com a obra Os Sertões, de Euclides da Cunha, e com os trabalhos fotográficos de Pierre Verger e Maurren Bisilliat, que também retrataram o tema. No capítulo três, as análises são levadas para o campo da memória e do imaginário e se debruçam especialmente sobre as imagens das figuras humanas. No quarto e último, apresenta-se um ensaio que mescla as fotografias de Canudos 100 anos rearranjadas de outra forma com trechos do texto retirados do livro e de fontes diversas. / Abstract: This investigation, which resulted from a concern about the concepts and rules which define photojournalism, aims at analyzing the photo book Canudos 100 years, by Evandro Teixeira. This study was divided into four chapters: the first reflects, from the observation of historical and conceptual issues, on the origin of the standards and conventions which shape the gender photojournalism, in order to deconstruct these patterns. In chapter two, differently from the classification into which the book was framed, this study proposes a rethinking of Canudos 100 Years photographs and its proximity to Os Sertões, by Euclides da Cunha, and the photographic work by Pierre Verger and Maurren Bisilliat, who also portrayed the theme. In chapter three, the analysis is taken to the field of memory and imagination and has focused especially on the images of human figures. In the fourth and last, it presents a rearranged combination of Canudos 100 Years photographs with snippets of text taken from the book and other sources. / Mestrado / Educação, Conhecimento, Linguagem e Arte / Mestre em Educação

Orientador: Fernando Cury de Tacca / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-07T00:38:24Z (GMT). No. of bitstreams: 1 Bodstein_CelsoLuizFigueiredo_D.pdf: 8598108 bytes, checksum: a79342e5eda7cf2c2abcf01faeec4e1e (MD5) Previous issue date: 2006 / Resumo: Propõe-se neste trabalho detectar uma categoria do fotojornalismo, de rara circulação - o da ¿imagem-literária¿ -, capaz de oferecer ao jornalismo impresso substratos de novas contemporaneidades. Tais imagens se expandem para além dos valores-notícia tradicionais do fotojornalismo. Mesclam as categorias arcaicas do Jornalismo ¿ informação, opinião e interpretação -, e produzem encenações que podem remeter o olhar a conteúdos mais complexos da estrutura de seus referentes. Dialogam, assim, com códigos próprios à fotografia não dirigida à mídia informativa. A validação dessas imagens emergentes está ligada à atribuição de significados ao mundo factual - símbolos que não apenas comparecem à imagem como desígnio peirciano, mas, sobretudo, como gêneses imagéticas que se encaminham a campos densos do imaginário onde, crê-se, habitam os sentidos mais fundamentais da experiência humana. A primeira parte do trabalho constitui diagnóstico das estruturas que definem padrões para a produção de fotojornalismo no Brasil: editores, fotógrafos e um ombudsman da imprensa escrita são confrontados e têm suas premissas encaminhadas para validar a teoria de uma crise na representação de factualidades. A observação é a de que ainda aceitamos um paradigma anacrônico de apego a realismos, com o qual os jornais institucionalizam promessas de desvelar o mundo a cada edição. Tal abordagem implica ainda em observações pessimistas acerca da formação acadêmica do fotojornalista. Ressalta-se a necessidade de discutir uma meta-ética, onde o fotógrafo compreenda-se ego-histórico de seu tempo e elabore hermenêuticas do cotidiano. Na segunda parte do trabalho são expostas e analisadas 27 imagens do proposto Fotojornalismo-literário, colecionadas a partir de investigação nos últimos anos em jornais estrangeiros e nacionais, notadamente a Folha de S.Paulo / Abstract: The purpose of the present study is to draw into a rare category of photojournalism ¿ the ¿literary image¿ ¿ which is able to offer the printed media evidences of new contemporary facts. The literary image unfolds itself beyond the traditional informative value of photojournalism. It blends the archaic journalistic categories ¿ information, opinion, interpretation ¿ and produces narratives which might submit one¿s perception to more complex structural aspects of its referent. Therefore, it invokes photography codes not displayed in informative media. These emergent images validation is connected to attribution of signification to the factual world ¿ symbols which not only appear in the image as peircean designs but, above all, as image genesis which flows to dense imaginary fields where the most fundamental human experience senses reside. The first part of the study establishes defining photojournalism production structure in Brazil: editors, photographers, and a written press ombudsman are confronted and have their premises directed to validate the factuality representation crisis theory. The argument is that we still accept an outdated paradigm of attachment to realism - the same with which the newspapers institutionalise promises of unveiling the world in each and every edition - resulting in pessimistic remarks concerning photojournalists academic background. It is highlighted here the need of discussing a meta-ethics in which the photographer thinks him or herself as a historical subject of their own era and elaborates daily life hermeneutics. The second part of the study exhibits and analyses 27 Literary photojournalism images collected from foreign and Brazilian newspapers, especially Folha de S. Paulo / Doutorado / Doutor em Multimeios

Nossa trajetória no fotojornalismo, marcada por treze anos de trabalho como repórter-fotográfico e editor de fotografia na Empresa Folha da Manhã S.A. nos permitiu conhecer minuciosamente, na prática, o processo de construção de uma imagem fotojornalística. Apesar da produção internacional relativamente abundante e de trabalhos brasileiros de renomados profissionais da área, a produção teórica sobre os aspectos da fotografia no contemporâneo é ainda incipiente no Brasil, principalmente no que diz respeito às inovações tecnológicas e seu impacto no fotojornalismo. Entre as questões mais instigantes da pesquisa e da teoria da imagem estão as tensões entre realidade e ficção e ética e ideologia. Segundo os parâmetros aceitos nas redações, uma boa fotografia é aquela que consegue aliar a precisão da informação com uma contundente beleza plástica. No fotojornalismo, mais que em qualquer outra modalidade de uso da fotografia, o registro fotográfico tem a necessidade de ser entendido, em sua gênese, como um documento, como um atestado comprobatório não apenas de que o fato aconteceu, mas que o mesmo ocorreu tal qual podemos observar na fotografia publicada no veículo. Como pensar então em informação precisa ou em verdade se sabemos de antemão que quando o fotógrafo documenta um acontecimento no espaço-tempo ele está invariavelmente, no ato fotográfico, descolando aquele recorte do real de seu contexto, interpretando o fato de acordo com sua cultura e sua ideologia? No fotojornalismo, essas tensões se revelam sobretudo na busca do equilíbrio possível entre informação e plasticidade, entre a sua natureza noticiosa que o obriga a se manter fortemente conectado a um referente e sua necessidade de conquistar a atenção do olhar do leitor contemporâneo, numa árdua batalha travada nas páginas de jornais e revistas com as imagens idealizadas e tecnicamente perfeitas da publicidade. Neste sentido, esta dissertação, que surge a partir da experiência de quem conheceu os mecanismos que regem o surgimento e a efetuação de uma pauta fotográfica na grande imprensa, pretende contribuir para ampliar o espaço desta reflexão na produção brasileira. Além disso, visamos analisar, ao cruzar a nossa experiência com a bibliografia contemporânea acerca da representação dos fatos na mídia impressa, as possíveis transformações ocorridas no conceito de documento fotográfico no período que vai da implantação da cor na impressão dos jornais diários brasileiros até o momento atual, passando pelo ingresso das câmeras digitais nas redações dos jornais. E, por fim, objetivamos também mostrar, por meio de imagens de violência recolhidas na mídia impressa, como esse processo pode corroborar para que os fotojornalistas e suas empresas façam, inconscientemente ou não, o uso da fotografia como uma ferramenta de criação, propagação e perpetuação de estigmas e preconceitos na sociedade. Sistematizar teórica e criticamente nossa experiência profissional obtida ao longo do trabalho como jornalista, repórter-fotográfico e editor de fotografia e, dessa forma, contribuir para a discussão acerca da profissão por nós escolhida, é um dos principais motivos que nos levaram a propor como objeto desta pesquisa uma análise do fotojornalismo a partir da sua produção desde diferentes perspectivas. / Our trajectory in photojournalism, marked by thirteen years of work as a reporter and photographic editor of the company Empresa Folha da Manhã S.A. allowed us to know, in practice, the process of creation an photojournalistic image. Despite the international production relatively abundant and the work of renowned Brazilian professionals in the area, the production on the theoretical aspects of photography in contemporary is still incipient in Brazil, especially with regard to technological innovations and their impact on photojournalism. Among the most instigatings issues of research and theory of the image are the tensions between reality and fiction and ethics and ideology. According to the editors accepted parameters, a good photograph is one that can combine the accuracy of the information with a convincingly plastic beauty. In photojournalism, more than any other mode of use of the photograph, the photographic record needs to be understood in its genesis, as a document such as a real certificate not only that the fact happened, but that it happened just the we see in the photograph published in the vehicle. Since then, how can we think on accurate information or true if we know in advance that when the photographer documents an event in space-time it is invariably, in the photographic act, unstick that cut of reality of its context, interpreting the fact based on his culture and his ideology? In photojournalism, these tensions are revealed especially in the search of the possible balance between information and plasticity, and its nature that requires that the news remains strongly connected to a referential and their need to win the attention of the readers contemporary look, in a tough battle fought on the pages of newspapers and magazines with the idealized and technically perfect images of advertising. Therefore, this dissertation, which arises from the experience of those who knew the mechanisms that govern the appearance and the execution of a photographic pauta, seeks to expand the space for discussion in the Brazilian production. Also, aim to analyze, by crossing our experience with the contemporary literature about the representation of the facts in press, the possible changes in the concept of photographic as a document, from the period of deployment of colors in printing the brazilianss newspaper untill today, and the advent of digital cameras in editors of newspapers. Finally, we also intend to show, throughout images of violence gathered in press, how this process can corroborate to the photojournalists and their enterprises to do, unconsciously or not, the use of photography as a tool for the creation, propagation and perpetuation of stigmas and prejudices in society. To systematize theoretical and critically our experience obtained during our career as a journalist, editor-reporter of photography and thus contribute to the discussion about the profession we have chosen, is one of the main reasons that led us to propose as the subject of this research an analysis of photojournalism from its production from different perspectives.

O propósito principal desta dissertação é realizar uma primeira análise da vida e da obra do fotógrafo santista José Dias Herrera, considerando a sua relevância como profissional no contexto da história da fotografia no Brasil, assim como o valor documental da sua obra para a história de Santos. Nosso estudo procura abarcar o período que vai de 1937, quando Herrera iniciou sua carreira como fotógrafo, até os dias de hoje. Do seu enorme acervo, foram selecionadas imagens que documentam as transformações da paisagem e dos hábitos urbanos de Santos, a presença de personalidades de projeção nacional e internacional, bem como, os grandes dramas políticos que afetaram o País, ao longo do tempo. É nossa esperança que este trabalho venha contribuir para a memória da cidade de Santos através da fotografia. / This paper aims at carrying out a first analysis of the life and work of a santista photographer called José Dias Herrera, taking into account his importance as a professional in Brazil historical context, as well as the contribution of his work to the history of Santos. This research tried to cover the period from 1937, when Herrera initiated his career as a photographer, until today. From his collection it was selected the images that show the transformation in the scenery and in the urban habits of Santos, personalities nationally or internationally famous as well as huge political dramas that has affected the country through the years. We hope that this paper will contribute to the memory of Santos through photograph.

South African photojournalists’ perception of digital technology’s impact on the credibility of news photographs is investigated in this study. Digital technology has the capabilities to produce “manipulated” photographs that appear realistic and credible. Credibility is dependent on a variety of factors including codes of realism and codes of production, which fit conventional codes of photographic representation. Manipulation is the act of deviating from accepted codes of photographic representation that may jeopardise the credibility of news photography. This thesis proposes a new theoretical framework that encompasses existing theories of semiotics, ideology, naturalism, realism and credibility. These theories underpin the definitions and discussion on manipulation and credibility. A descriptive survey is used which attempts to discover photojournalists’ views towards credibility. This research draws on qualitative research methods using a largely qualitative questionnaire, which generates both qualitative and quantitative data. The questions are formulated around two case studies of digitally manipulated photographs. The trends and responses in the research data are connected and discussed. The findings of this study are discussed in terms of credibility, awareness of the digital changes, the reason for the changes, the role of a caption, deletion techniques and background changes. The empirical situation is analysed in relation to the theoretical discussions and this study’s theorisation of photographic representation.

No description available.

För att sammanfatta mitt examensarbete har jag undersökt vad de bakomliggande faktorernaför en bilds genrekategorisering påverkas av, ifall det är innehållet i bilden som påverkar desseffekt eller om det är antingen publikskontexten/produktionskontexten som avgör en bildsgenre. Till min hjälp bestämde jag mig för att åka till Japan och träffa en fotograf vid namnSaid Karlsson för att genomföra en etnografisk studie och intervjua honom på plats. Delsgjorde jag detta genom att hitta skillnader mellan varandras bilder och att fotografera sakersom intresserar mig i Japan som blev en del av min medieproduktion. Vad undersökningen resulterade, med hjälp av intervjun och diskussionerna om varandras bilder, var att en bilds genre avgörs inte av innehållet i en bild, det är i kontextsammanhanget bilden befinner sig inom. / To summarize my thesis, I investigated what the underlying factors for an image genre categorization is influenced by, if it is the content of the image, which affects its effect or if it is either the audience context / production context that determines a picture's genre. To my help I decided to go to Japan and meet a photographer named Said Karlsson to conduct an ethnographic study and interview him on the spot. Firstly, I did this by finding the differences between each image and to photograph things that interest me in Japan that became part of my media production. What investigation resulted, with the help of the interview and discussions about each other's pictures, was that a picture's genre is not determined by the content of an image, it is in the context context, the picture is within.

Although it has long been assumed that pictures depicting the human suffering of war evoke empathy and compassion, which leads to social action, there is little empirical evidence of that claim. This study aimed to fill the gap in visual communication theory about the effects of war photojournalism on media consumers' emotional and behavioral responses. This mixed methods design included a between-subjects experimental design tested whether photos (from conflicts in Afghanistan and the Democratic Republic of Congo) with a human-cost-of-war visual frame had significantly different effects on participants' levels of empathy, compassion, personal distress, other-oriented distress, and information seeking than pictures with a militarism visual frame. A second study used series of focus group discussions, to investigate how media consumers make meaning out of images of conflict. The findings expand our understanding about the way audiences react to conflict photos, and they have implications for how photo editors might present audiences with images of war that will engage audiences. / Media & Communication

Photojournalism in South Africa is in the process of undergoing a shift from an analogue past to a fully digital future. This shift to digital has already been completed by many of the newspapers in the United States of America and Europe, and the new technology is seen to have made fundamental differences in the way that journalists do their job. This thesis attempts to explore the differences brought about, as well as the problems experienced by the photographic department at the Sowetan newspaper as a result of the shift to digital. How the development of technology has affected the photojournalist throughout is focused upon in a brief history of photojournalism and examples of how technology has shaped different aspects of journalism in both a positive and negative manner is considered. Exactly what digital photography is, how it has been integrated into American Photographic departments and the changes that the new technology has prompted are also explained. The manipulation of images in the past as well as the relative ease of digital manipulation are covered and concerns are raised about the future implications of digital manipulation. By conductlng participant observation and holding interviews, research data was compiled which allowed conclusions to be drawn about the impact that the shift to digital had had on the Sowetan photographic department. Intentional and unintentional consequences were expected and revealed in the research. The job of the photojournalist and photographic editor was found to have changed but perhaps not as dramatically as expected. Third world factors such as crime, poverty and lack of education were discovered to have resulted in problems that differed noticeably from those experienced by American and European photographic departments. Some expected difficulties were not experienced at all, while other major obstacles, specifically the repairs that must constantly be made to the digital cameras, continue to hamper the operations of the new digital department. Some understanding of the problems that might be encountered by future photojournalism departments that are considering making the shift to digital are arrived at, in the hope that they may be foreseen and overcome.

This is the first known study to explore the image retrieval preferences of news photographers and news photo editors in work contexts. Survey participants (n=102) provided opinions regarding 11 photograph searching methods. The quantitative survey data were analyzed using descriptive statistics, while content analysis was used to evaluate the qualitative survey data. In addition, news photographers and news photo editors (n=11) participated in interviews. Data from the interviews were analyzed with phenomenography. The survey data demonstrated that most participants prefer searching by events taking place in the photograph, objects that exist in the photograph, photographer-provided keywords, and relevant metadata, such as the date the picture was taken. They also prefer browsing. Respondents had mixed opinions about searching by emotions elicited in a photograph, as well as the environmental conditions represented in a photograph. Participants' lowest-rated methods included color and light, lines and shapes, and depth, shadow, or perspective. They also expressed little interest in technical information about a photograph, such as shutter speed and aperture. Interview participants' opinions about the search methods reflected the survey respondents' views. They discussed other aspects of news photography as well, including the stories told by the pictures, technical concerns about digital photography, and digital archiving and preservation issues. These stated preferences for keyword searching, browsing, and photographer-provided keywords illustrate a desire for a strong internal locus of control in digital photograph archives. Such methods allow users more control over access to their photographs, while the methods deemed less favorable by survey participants offer less control. Participants believe they can best find their photographs if they can control how they index and search for them. Therefore, it would be useful to design online photograph archives that allow users to control representation and access. Future research possibilities include determining the preferences of other image retrieval system users, performing user studies with moving image information retrieval systems, and uniting content-based and concept-based image retrieval research.