ESTUDO SOBRE O TEMPO

 ESTUDO SOBRE O TEMPO

JOSÉ REIS

Um trabalho que proponho aos que fazem da Fotografia o registo do Tempo

Eu que defino Fotografia como o Percurso da Luz No Tempo

Boa Leitura

https://www.uc.pt/fluc/dfci/public_/publicacoes/sobre_o_tempo

Um estudo qualitativo das práticas fotojornalísticas em espaços de migração (forçada)

Uma proposta de estudo bem actual. Deixo para vós as considerações a serem "coladas" ao que nos é dado a ler.

Appearance and photographs of people in flight

A qualitative study of photojournalistic practices in spaces of

(forced) migration

Rebecca Bengtsson Lundin

https://www.diva-portal.org/smash/get/diva2:1601107/FULLTEXT01.pdf?fbclid=IwAR262VPVtD3GCoPYWCtbFnAPdNRuVLxX0-gsy7e1JtKWVo6ZtwgMwS95fTs

Academic dissertation for the Degree of Doctor of Philosophy in Journalism at Stockholm

University to be publicly defended on Friday 19 November 2021 at 13.00 in JMK-salen,

Garnisonen, Karlavägen 104.

Abstract

This study explores photojournalistic practices by investigating how spaces of (forced) migration, as well as the people

and objects moving in and across them, appeared in Swedish newspapers in 2015.

Photographs are unique objects of study, as the presence of people in certain spaces becomes directly observable through

them. By considering photographs as agentic entities resulting from the many encounters between people involved in the

event of photojournalism, the focus is on the social and political relations that emerge from these encounters, which opens

up for an examination of questions of citizenship and visibility in relation to photography.

The inquiry scrutinises the traditional ontological framework for discussing photographs and the act of photography

related to people in flight, which generally is limited to the content visible within the frame, implying that photographs are

the products of one stable point of view – that of the photographer. This thesis offers insights into mediated and mediating

ways of seeing and their implications by: (1) examining photojournalism and photographs as a combination of content,

practice, and place-making that produces events of photojournalism; (2) linking these to the notion of spaces of appearance

and the potential for political action that ensues; (3) providing a specific account of photojournalism as a practice that

enables modes of self-presentation; and, (4) reflecting on encounters that unfold in the event of photojournalism due to the

fact that photographs, as shareable stories, are reproduced and circulated in time and space.

The analysis draws upon a primarily qualitative, multi-method approach, combining an interview study with

photojournalists and a visual analysis of photographs published in four Swedish newspapers in 2015. Through an approach

of watching photography, the study examines the spatial and temporal dimensions of photographs beyond the stillness

imposed by the frame and offers an analysis centred on movement and place. Employing Arendt’s notion of appearance in

terms of both photojournalists in spaces of (forced) migration and others who are moving in and across these spaces, the

results indicate that photojournalism, as a space of appearance, potentially stretches beyond the moment of photography.

The findings further show that photojournalism practices do not only visualise events of (forced) migration, but they

facilitate the appearance of, and encounters with, people in flight. The event of photojournalism offers a space which

recognises fleeing as an action. By appearing in photographs, people in flight regain part of the spontaneity that they have

been deprived of as stateless individuals, giving them an opportunity to reappear before others as subjects of rights. The

thesis concludes that photographs should not merely be construed as representations, but rather as presentations anew, with

people’s appearance in photographs being testimony to their ability to self-present.

Keywords: Photojournalism studies, photography, critical visual analysis, watching photography, appearance,

encounters, photojournalistic practices, space, (forced) migration, flight.

Stockholm 2021

http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-197547

ARQUITECTURA E FOTOGRAFIA: RELAÇÕES, INTERPRETAÇÕES E APLICAÇÕES

 Dissertação Mestrado Integrado em Arquitetura

Ricardo Espinheira Neves

https://comum.rcaap.pt/bitstreams/4516b793-0d2f-4ed5-aba1-d9595e62ee5c/download

A apropriação da imagem fotográfica no discurso jornalístico: o real e sua representação

 

Bruno Lisita Rezende

"Exibida como testemunho do real e usada como instrumento de trabalho das ciências desde a sua génese, nas últimas décadas, a fotografia parece ter, no entanto, perdido a missão de ser um mero registo documental do visível para se assumir como uma representação da realidade onde é quase óbvia a perspectiva do autor, da luz existente, da técnica e do equipamento utilizado, mostrando que, quando o fotógrafo documental prime o botão do obturador, aquele momento não é inocente e simplesmente técnico, sem que essa insígnia implique comprometer a verdade."

https://estudogeral.sib.uc.pt/bitstream/10316/32621/1/A%20apropriação%20da%20imagem%20fotográfica%20no%20discurso%20jornalístico%3A%20o%20real%20e%20sua%20representação.pdf

 

Religações: o escuro da fotografia contemporânea

http://www.iconica.com.br/site/religacoes-o-escuro-da-fotografia-contemporanea/?fbclid=IwAR0XXI6wAHnr81QkO9n7sfVBQum_hUIV9l-nbGBKWiFqv8lXHfynSZoxj98

   
     Fernando de Tacca

RONALDO ENTLER

"Este texto foi escrito em 2013 e nunca chegou a ser publicado. A imagem que discuto se perdeu e não tenho nenhuma memória dela. Lancei então nas redes um convite: Procura-se uma obra para uma crítica órfã. Dei apenas algumas pistas de como o texto parecia imaginar essa fotografia que lhe faltava: 1. Tem que ser fotografia de paisagem; 2. Tem que ser escura, de preferência, bem escura; 3. O horizonte tem que ser difuso, isto é, o céu e a terra (ou rio, lago, mar…) têm que se confundir um com outro; 4. O autor tem que estar em paz com a ideia de que seu trabalho, mesmo que conceitual, possa evocar um olhar contemplativo. Recebi imagens de 30 autores. A partir delas, fiz pequenos ajustes no que havia escrito, explorando o modo como as fotografias imaginaram o texto."