Photojournalism

Impact of Photographs and its Placement in News Articles on Readers.

by Pushkar Vijayaram

Paisagens e Crônicas Visuais da Destruição: índices e temporalidades do discurso visual no fotojornalismo

by Benjamim Picado

published in: Eco-Pós, 14/2 (2011)

Este artigo se propõe a examinar a tópica da paisagem, como elemento condutor da representação da catástrofe no... more Este artigo se propõe a examinar a tópica da paisagem, como elemento condutor da representação da catástrofe no fotojornalismo: recupera-se a noção de indexicalidade, na chave em que ela é pensada relativamente ao conceito da “aura”, na reflexão de Walter Benjamin sobre a história da fotografia;
correlaciona-se o tema pictórico da paisagem, em seu aspecto de estabilidade e mudança, ao problema da sublimidade nos escritos de Edmund Burke. Na conclusão, se examinam pistas sobre as relações entre catástrofe e historicidade, a partir da representação de uma natureza revolta.

The identity of photography: Exploring realism in photojournalism

by Siobhan Lyons

Published in the first issue of the Macquarie Matrix Undergraduate Journal

It can be argued that the nature of photography becomes drastically altered, and its identity changes according to the... more It can be argued that the nature of photography becomes drastically altered, and its identity changes according to the uses it is put to. This article will discuss the many aspects of photojournalism that shape and manipulate the current status of photography. Its origin as a means of objective documentation will be critically analysed in relation to its uses in war photography, political agendas and propaganda. The theories of Susan Sontag and Roland Barthes, among others, will be drawn on to evaluate the extent to which photography is autonomous, changing and transforming depending on how it is employed. The conclusions drawn from the research show how photography has become a malleable artefact, capable of changing its identity in a post-modern context, and thus posing challenges for our concept of reality.

Portfolio: ON THE RIGHTS OF MOLOTOV MAN: Appropriation and the art of context

by Joy Garnett

Harper's February 2007
PORTFOLIO: [pp.53-58]

On the Rights of Molotov Man:
Appropriation and the art of context
By Joy Garnett and Susan Meiselas

Joy Garnett is a painter and the arts editor of the journal Cultural Politics. Susan Meiselas is a photographer best... more Joy Garnett is a painter and the arts editor of the journal Cultural Politics. Susan Meiselas is a photographer best known for her documentation of human-rights issues in Latin America. Both artists live in New York City, and their work has appeared previously in Harper's Magazine. This portfolio is drawn from their conversation at the New York Institute for the Humanities' "Comedies of Fair U$e" symposium, which took place in Spring 2006 at New York University.

Follow the Image

by Joy Garnett

Cultural Politics - An internationally refereed journal published by Berg, Oxford, UK
Volume 1, Issue 1, March 2005

New York artist Joy Garnett outlines her methods as a painter who works from sampled or found images. She discusses... more New York artist Joy Garnett outlines her methods as a painter who works from sampled or found images. She discusses her relationship to her sources, which have included science photographs, declassified military and news media imagery. She describes the challenges she has encountered while working with different types of source material: from technical obstacles (invisible phenomena that require lenses and other optical devices) to socio-political mediation (government secrecy and the search for declassified imagery), to legal encumbrances (accusations of "piracy" and copyright infringement regarding a sampled image). Garnett explains her sense of the continued relevance and critical potential of art in light of these challenges, specifically the uses of painting in an age of mass production and digital technology.

Foto mentiras y video

by Katya Mandoki

2008. “Fotos, mentiras y video” en Ética, poética y prosaica. Ensayos sobre fotografía documental Ireri de la Peña (comp.) México: siglo veintiuno editores.

1-3 October 2008, joint paper “Researching a new Photojournalism paradigm in connecting industry professionals with regional students” presented at ACUADS 2008 Conference “Sites of activity / On the edge”. South Australian School of Art (University of South Australia) Adelaide, South Australia

by James McArdle

“The Context of Soviet Photojournalism, 1923-1932.”

by Erika Wolf

The Zimmerli Journal, volume 2 (Fall 2004): 106-117.

Stop All the Clocks! Beyond Text, Looking at the Pics

by Max Martin

Chapter in  Nalaka Gunawardene and Frederick Noronah (eds 2007), Communicating Disasters - An Asia Pacific Resource Book, Bangkok/Colombo: UNDP/TVE

Much of news imagery seems to be only about here and now. Disaster photography needs to break away from the... more Much of news imagery seems to be only about here and now. Disaster photography needs to break away from the constraints of time and space. There is work to be done – both before the clock stops, and after it restarts.

FOTOPERIODISMO CON TELÉFONO MÓVIL

by Pilar Irala Hortal

Author: Pilar Irala Hortal

Humaniser le regard : du photojournalisme humanitaire à l'usage humanitaire de la photographie

by Caroline Caron

COMMposite, V2007.1, p. 1-19.

Au cours des dernières années, la critique postcoloniale a remis en question les prétentions humanitaires du... more Au cours des dernières années, la critique postcoloniale a remis en question les prétentions humanitaires du photojournalisme. Cette critique n'a toutefois pas engendré de débat public, pas plus qu'elle n'a transformé les modes de production, de diffusion et de réception des images humanitaires dans les médias de masse occidentaux. La question demeure donc entière : une autre approche du photojournalisme est-elle possible ? À partir d'une étude de cas, ce texte propose une réflexion sur le sujet. Le cas retenu est l'album photographique Shootback. Photos by kids from Nairobi slums (Wong, 1999), résultant d'un projet d'aide internationale au Kenya. Il semble que la transposition de l'approche ethnographique de ce projet au photojournalisme pourrait contribuer au renouvellement du genre médiatique qu'est le photojournalisme

When Photographs Speak, To Whom Do They Talk? The Origins and Audience of SSSR na stroike (USSR in Construction)

by Erika Wolf

Left History 6, no. 2 (2000): 53-82.

"As at the Filippovs": The Foreign Origins of the Soviet Narrative Photographic Essay

by Erika Wolf

From the book:

The Worker Photography Movement [1926-1939]: Essays and documents, edited by Jorge Ribalta, 32-46, 124-130. Madrid: Museo Nacional Centro de Arta Reina Sofia, 2011.

"The Soviet Union: From Worker to Proletarian Photography"

by Erika Wolf

Essay for the anthology:
The Worker Photography Movement [1926-1939]: Essays and documents, edited by Jorge Ribalta. Madrid: Museo Nacional Centro de Arta Reina Sofia, 2011. Pages 32-46.

Le Temps d'un Geste et l'Arrêt sur l'Image dans le Photojournalisme: entre la rhétorique corporelle et le pathos iconique

by Benjamim Picado

in: Image&Narrative, 23 (2008)

In this text, we propose an analysis of the coded aspects of human gesture, in the ways we find it captured in... more In this text, we propose an analysis of the coded aspects of human gesture, in the ways we find it captured in photography: taking advantage of the case of visual arresting of the temporal dimension of actions in contemporary photojournalism, we examine the ways by which the pictorial principles of representation might serve as a structure of the visual discourse in photography. Taking Gombrich’s ideas on the principles of pictorial representation of human action as a standpoint, we identify the arrested gesture in photography as divided between two main aspects of its proper codification: on one hand, we identify this normalization of gesture with the processes of ritualization of human attitude; on the other hand, the gesture is identified with the expressional traits of representation (thus with the generation of some pathos, which is found translated in an iconic fashion), i.e., by the production of a sensorial sympathy of the image with aspects of the experience of the characters of the scene captured.

From the Presentness of the Instant to the State of Affairs: stable visual forms in photojournalism's visual discourse

by Benjamim Picado

published in: Imagining History: photography after the fact (Bruno Vandermeulen and Danny Veys, eds.). Brussels: ASP (2011): pp. 57,65

Photojournalism in Crises: Re/presenting Reality where Anthropology Could

by Jessalyn Ballerano

Final Synthesis and Appendix of Independent Study: Photojournalism in Crises, under the professorship of Eleana Kim, PhD.

A comparison of media narratives surrounding oil spills in 1989 and 2010, the study aims to reveal the relationships... more A comparison of media narratives surrounding oil spills in 1989 and 2010, the study aims to reveal the relationships between environmentalism, media and active (or "public") anthropology. A final discussion based on anthropological treatments of news/media processes and environmental disaster, as well as original news/journalistic texts, is followed by individual analytic works considering various steps and sources in the research process.

News Narratives and Television News Editing

by Keren Henderson

This was my master's thesis. I recently revisited this data, adding a quantitative element to the paper. The study was accepted to the 2011 AEJMC conference in St. Louis.

Londonist: Chris Beckett Behind the Lens

by Chris Beckett

February, 2011.

Photo-journalism, G20 and education protests in London, flash mobs and street photography Photo-journalism, G20 and education protests in London, flash mobs and street photography

The death of great ships : photography, politics, and waste in the global imaginary

by Michael Crang

Open access repository copy of Crang, M. (2010) 'The death of great ships : photography, politics, and waste in the global imaginary.', Environment and planning A., 42 (5). pp. 1084-1102. publisher definitive version http://dx.doi.org/10.1068/a42414

The iconic images heralding an age of connectivity are the plane and the trace of digital flows bearing information.... more The iconic images heralding an age of connectivity are the plane and the trace of digital flows bearing information. However, not far behind has been the cumbrous yet essential 'big box' of containerisation, shipping all manner of goods across the planet on great vessels remorselessly circling the globe. Critiques of global trade have latched upon the counter image of these mighty ships' ruinous carcasses beached and being broken in South Asia. Here then is the antipode of globalisation - ships, once carrying cargoes now themselves sold around the globe for scrap and ending up broken up according to the very logics of cheap locations that their routes made possible. This paper interrogates these counter-images of global capitalism. Looking at the works of various photographers it examines how waste ships are made to work aesthetically. It examines the photodocumentary and traditions of the industrial sublime to find ‘time-images’ that speak to the material and labour worlds of global capital.