This thesis is primarily concerned with the meanings that are produced when women become visible amongst the homeless through photographic representations. While there have always been homeless women, unlike their male counterparts, they have remained largely invisible to the public and government policy makers.Social documentary photography has acted as one of the main avenues through which homeless women have, literally, been rendered visible. Driven by, and implicated in complex sociocultural and political circumstances, socially concerned photographs draw on the real and the fictional to generate truth/power effects.Thus, the thesis re/traces the representation of homeless women in a range of visual texts and ask how this construct has been discursively produced and deployed. In order to explore how socially concerned photography has contributed to, and made use of the idea of homeless, or destitute woman, examples are drawn from a range of photographic genres. These include traditional social documentary, public collections of photographs, photojournalism and publicity materials.The selected images, the circumstances out of which they emerge, and those in which they are read, are interrogated along, and with the consideration of the interconnections between axes of gender, genre, race, class and power. The inquiry does not aim to establish a unitary source, or coherent trajectory of the visual representation of the homeless woman, because origins, particularly of ideas, are always contestable. Rather, a primary aim is to expand the field of possibilities for the visual portrayal of women's experiences of homelessness. / Doctor of Philosophy (PhD)
| Identifer | oai:union.ndltd.org:ADTP/182062 |
| Date | January 2003 |
| Creators | Crinall, Karen Maree, University of Western Sydney, Critical Social Sciences Research Group |
| Source Sets | Australiasian Digital Theses Program |
| Language | English |
| Detected Language | English |
| Source | THESIS_XXX_CSSRG_Crinall_K.xml |
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