Suchergebnisse

This dissertation unpacks the professional practices and conceptual underpinnings of photojournalism in contemporary news media production. By viewing such imagery as both a product of capital and a necessity of the democratic social order, I address the problematic and generative assumptions/consumptions/functions of the documentary photograph with an eye toward a reassessment of the news image industry from capture to caption. Central to my argument is my consideration of photojournalism as a "scopic regime," due to the practice's particular mode of envisioning disempowered subjects through a framework that symbolically eliminates the photographer/subject power structure. Using the dual lenses of visual culture and documentary theory, I will clarify the parallel relationships of visioning and witnessing as elemental to the production of photojournalistic reality. Intertwined with this foundational ideal of journalistic imagery are other infrequently analyzed relationships specific to the production of the presumed photographic real: visuality to truth, camera to photographer, subject to audience. I further argue the camera (in documentary photography specifically) is a tool of erasure that produces a scopic regime through its disembodiment of the photographer's gaze — as I claim it is partially the photojournalistic camera that allows for a conceptual laundering of the photographer's subjectivity into objectivity — and that it is this key moment of the photographer's disappearing act where the envisioned reality of the subject becomes suspect. This research argues that news images are worlding — integral to constructing the social imaginary on a global scale — and, as such, both the product, producer and process must be subject to analysis in order to unpack the problems and opportunities within/behind/before/beyond the frame. In the absence of such a thorough intersectional critique, the news image remains one of the most powerful modes of instantiating disempowerment in the contemporary media field.

Abstract
Social and digital media have enabled an unprecedented number and variety of photographs of refugees and forced migrants to circulate globally in recent years. Among them are shocking, even horrific images. The shock I present for consideration is associated with the technology of photography more so than the picture's content. In this article, I claim that the invisible shock of misery photographs of refugees is related to the insidious and unresolved ongoing history of mass population movements and their visual representations. I contend there is an imperative to considering this invisible shock as it leads to foregrounding the miseries of refugeedom and to the patterns of its manufacture. Indeed, any photograph of refugee or migrant misery refers to the truth of discrimination, disparity and the willingness on the part of some humans to treat other humans as inferior. I conclude that this approach presents an opportunity to reconsider uses of photography for social change.

"In 1912, Shoki Kayamori and his box camera arrived in a small Tlingit village in southeast Alaska. At a time when Asian immigrants were forbidden to own property and faced intense racial pressure, the Japanese-born Kayamori put down roots and became part of the Yakutat community. For three decades he photographed daily life in the village, turning his lens on locals and migrants alike, and gaining the nickname 'Picture Man.' But as World War II drew near, his passion for photography turned dangerous as government officials called out Kayamori as a potential spy. Despondent, Kayamori committed suicide, leaving behind an enigmatic photographic legacy. In Picture Man, Margaret Thomas views Kayamori's life through multiple lenses. Using Kayamori's original photos, she explores the economic and political realities that sent Kayamori and thousands like him out of Japan toward opportunity and adventure in the United States, especially the Pacific Northwest. She reveals the tensions around Asian immigrants in the West Coast and the racism that sent many young men north to work in the canneries of Alaska. And she illuminates the intersecting--and at times conflicting--lives of villagers and migrants in a time of enormous change. Part history, part biography, part photographic showcase, Picture Man offers a fascinating new view of Alaska history"--

In my Master's thesis \"Taking Pictures of the Photographer: the (In)visible Frames", the theory was inspired by practical work: my series of photographs called \"Photographers\". Myself a photographer, I've always loved to take pictures of other representatives of this craft in their work. So I have noticed that these people are often taking particular positions, and along with them, their inner states of being are also changing (as in the one who is taken picture of, too). The common perception is that it is the photographer who influences his/her \"victim\" – for example, by telling you to sit down and smile. When I heard about the existence of the specific phenomenon in quantum physics, where the existence of the observer can influence the outcome of the experiment, I thought that in photography, the one being observed can influence the one behind the camera – for instance, kneel and wait for a long while, feverishly pushing the button with one's finger. In this case, the actual result of this "photographic experiment", the picture, also influences the one who has been shot and the one who presses the button. Separately, in my work I also discuss the single occasion when these two functions are performed by the same person: namely, the \"production\" of a selfie. In my work, I associate the visual sterility of a photographic image, especially digital one, the special "tuning" effects done with the help of programs like Photoshop, as well as all the fashion for taking pictures (also of oneself), intertwined with the social norm to look \"nice\" on the picture (even where they don't resemble your looks), with the tradition that was practiced in the USA in the period from the late 19th to early 20th century. According to this tradition, along with the usual funeral and post-mortem photos, the people who had passed away were photographed \"as the living\". The use of special effects in contemporary digital photography, in this aspect, reminds me of the flowers and candles that were used to decorate the deceased, in order to conceal the fact that the latter has been dead for some time. So the author of a selfie reminds me of a suicider, who, in addition, uploads the results to any social network, where they will be immediately evaluated, or to the hard disk, where they are likely to be never seen by anyone again. In terms of posture, I have noticed that even the external photographers' attributes – the camera bag, clothing, a certain "professional" behavior – give a number of certain "advantages" both to teenagers, who are particularly sensitive to social pressure, and to the rest of society. \"Hipsters\" get more favor in their environment if they smarten themselves with \"vintage\" camera bags, while a statistical 30-year-old white person, in the daylight, feels free to kneel, lie down, move around his/her hands, and so on, if only s/he has a camera. So we can talk about the power of image, which Victor Pelevin has described in a great detail in his novel \"Generation P\": in his book, a government visualized by computers is ruling a whole nation. I dare say that in contemporary society, often we are disappointed with life due to the fact that it has been invaded by life-unfriendly rules of the world, determined by the geometry of the photographic image. Even in our daily life, we are often governed by the photographic shot, which my Master's thesis analyzes not only as the frame, but also as a pose and a border (limit).

In my Master's thesis \"Taking Pictures of the Photographer: the (In)visible Frames", the theory was inspired by practical work: my series of photographs called \"Photographers\". Myself a photographer, I've always loved to take pictures of other representatives of this craft in their work. So I have noticed that these people are often taking particular positions, and along with them, their inner states of being are also changing (as in the one who is taken picture of, too). The common perception is that it is the photographer who influences his/her \"victim\" – for example, by telling you to sit down and smile. When I heard about the existence of the specific phenomenon in quantum physics, where the existence of the observer can influence the outcome of the experiment, I thought that in photography, the one being observed can influence the one behind the camera – for instance, kneel and wait for a long while, feverishly pushing the button with one's finger. In this case, the actual result of this "photographic experiment", the picture, also influences the one who has been shot and the one who presses the button. Separately, in my work I also discuss the single occasion when these two functions are performed by the same person: namely, the \"production\" of a selfie. In my work, I associate the visual sterility of a photographic image, especially digital one, the special "tuning" effects done with the help of programs like Photoshop, as well as all the fashion for taking pictures (also of oneself), intertwined with the social norm to look \"nice\" on the picture (even where they don't resemble your looks), with the tradition that was practiced in the USA in the period from the late 19th to early 20th century. According to this tradition, along with the usual funeral and post-mortem photos, the people who had passed away were photographed \"as the living\". The use of special effects in contemporary digital photography, in this aspect, reminds me of the flowers and candles that were used to decorate the deceased, in order to conceal the fact that the latter has been dead for some time. So the author of a selfie reminds me of a suicider, who, in addition, uploads the results to any social network, where they will be immediately evaluated, or to the hard disk, where they are likely to be never seen by anyone again. In terms of posture, I have noticed that even the external photographers' attributes – the camera bag, clothing, a certain "professional" behavior – give a number of certain "advantages" both to teenagers, who are particularly sensitive to social pressure, and to the rest of society. \"Hipsters\" get more favor in their environment if they smarten themselves with \"vintage\" camera bags, while a statistical 30-year-old white person, in the daylight, feels free to kneel, lie down, move around his/her hands, and so on, if only s/he has a camera. So we can talk about the power of image, which Victor Pelevin has described in a great detail in his novel \"Generation P\": in his book, a government visualized by computers is ruling a whole nation. I dare say that in contemporary society, often we are disappointed with life due to the fact that it has been invaded by life-unfriendly rules of the world, determined by the geometry of the photographic image. Even in our daily life, we are often governed by the photographic shot, which my Master's thesis analyzes not only as the frame, but also as a pose and a border (limit).

Recent evidence indicates that political coverage in newspapers varies from outlet to outlet in correlation with the political atmosphere of those papers. Visual images from photographs of political candidates published in these newspapers are no exception. Although previous works have examined the importance of visual images on observer evaluations, little work has been done to assess whether differing newspaper photographs of a political candidate can actually shape how potential voters view that candidate. We address this gap in the extant literature through an experiment designed to assess the potential influence of candidate photographs on voter perceptions when partisanship is not available as a heuristic device. The results of our study indicate that newspaper photographs can shape how voters evaluate a candidate's personal traits, their general impression of that candidate, & their decision whether to vote for that candidate. We also found that women & men are affected differently by photographs, with the former influenced more by a positive picture & the latter triggered by a negative one. 1 Table, 2 Figures, 32 References. [Reprinted by permission of Sage Publications Inc., copyright 2005 by the President and the Fellows of Harvard College.]

Recent evidence indicates that political coverage in newspapers varies from outlet to outlet in correlation with the political atmosphere of those papers.Visual images from photographs of political candidates published in these newspapers are no exception. Although previous works have examined the importance of visual images on observer evaluations, little work has been done to assess whether differing newspaper photographs of a political candidate can actually shape how potential voters view that candidate. We address this gap in the extant literature through an experiment designed to assess the potential influence of candidate photographs on voter perceptions when partisanship is not available as a heuristic device.The results of our study indicate that newspaper photographs can shape how voters evaluate a candidate's personal traits, their general impression of that candidate,and their decision whether to vote for that candidate.We also found thatwomen and men are affected differently by photographs, with the former influenced more by a positive picture and the latter triggered by a negative one.

Before sailing -- The Titanic album facsimiles -- The Titanic photographs -- Supplementary pictures : photographs of the Titanic and the Olympic -- "At sea on the Titanic" / by F.M. Browne -- The Titanic at Queenstown -- After the tragedy -- In later years -- In memoriam : a poem / by F. M. Browne.