Art History Sep99 Vol 22 Issue 3 P440 5p

L´oeil de Sebastiao Salgado

http://www.monde-diplomatique.fr/1997/09/LEMOINE/9098.html

Fuente: Le monde Diplomatique.fr

Fecha de consulta: 16 de diciembre de 2009

Articulo del año 1997 escrito por Maurice Lemoine sobre Sebastiao Salgado. (Está en francés)

Título: José Mª Maura: La fotografía social bien hecha

Autores: López, Manuel

Revista: Foto Profesional, 1996 ABR; 14 (160)

Página(s): 51-55

ISSN: 11345993

Título: Quien es quien en la fotografía española

Revista: Foto Profesional, 1995 JUN; thirteen (150)

Página(s): 15-56

ISSN: 02119552

Título: Fotografía: la manipulación digital de imágenes

Autores: Mitchell, William J.

Revista: Investigación y Ciencia: Edición Española de Scientific American, 1994 ABR; (211)

Página(s): 40-45

ISSN: 0210136X

Título: Efectos sociales del proceso documental de la Fotografía de Prensa.

Autores: Chacón Gutiérrez, Inmaculada

Revista: Cuadernos de Documentación Multimedia, 1994 JUN; 3

Página(due south): 47-57

ISSN: 11333030

Título: Estética de la fotografía española

Autores: Hernáiz, J.I.

Revista: Revista de Ciencias de la Información, 1994; (9) 2ª EPOCA

Página(s): 79-114

ISSN: 0213070X

Título: Miguel Affections Nalda. El trabajo de Miguel Angel Nalda se desarrolla en tres frentes bien diferenciados: las fotografía Publicitaria, la editorial para periódicos y revistas y su trabajo de autor

Revista: Visual, 1997; 9 (67)

Página(s): 44

ISSN: 11330422

Título: Sin límites. Fotografía profesional, fin de siglo

Revista: Foto Profesional, 1997 ENE; 15 (169)

Página(s): 34-39

ISSN: 02119552

Título: Cómo leer una fotografía

Autores: López, Manuel

Revista: Foto Profesional, 1996 OCT; 14 (166)

Página(s): 50-54

ISSN: 02119552

Título: Mil cosas: La fotografía, un instrumento científico y un hallazgo liberal

Autores: Riego Amézaga, Bernardo

Revista: Historia 16, 1998 ABR; 22 (264)

Página(southward): 88-97

ISSN: 02106353

Título: El quejido del alma.

Autores: Prieto, L. Alberto.

Revista: Arte Fotográfico: Revista Mensual al Servicio de la Fotografía, el Cine Amateur y el Video, 1998; (537)

Página(s): 47-50

ISSN: 05149193

Título: Fotografía desde Human being Ray hasta la actualidad

Autores: Olivares, Rosa

Revista: Lápiz: Revista Internacional de Arte, 1998 MAY; (143)

Página(due south): 40-53

ISSN: 02121700

Título: Fotografía española reciente

Autores: Mira Pastor, Enric

Revista: Lápiz: Revista Internacional de Arte, 1998 MAY; (143)

Página(s): 54-61

ISSN: 02121700

Título: Fotografía y documentación

Autores: Hernández Cava, Felipe

Revista: Lápiz: Revista Internacional de Arte, 1998 MAY; (143)

Página(southward): 68-73

ISSN: 02121700

Título: Más de 120 personalidades se harán la fotografia contra la droga

Autores: La Opinión, 14-03-98

Revista: Boletín de Prensa. Fundación de Ayuda contra la Drogadicción, 1998 MARZO

Página(s): 68

ISSN: 11309253

Título: Fotógrafas Pioneras.

Revista: Arte Fotográfico: Revista Mensual al Servicio de la Fotografía, el Cinematics Amateur y el Video, 1998; (545)

Página(s): 44

ISSN: 05149193

Título: La estética de la instantánea.

Revista: Arte Fotográfico: Revista Mensual al Servicio de la Fotografía, el Cine Amateur y el Video, 1998; (545)

Página(due south): 45-47

ISSN: 05149193

Título: Para una sociología de la fotografía

Autores: Miguel, Jesús Thousand. De; Ponce de León, Omar Thou.

Revista: REIS: Revista Española de Investigaciones Sociológicas, 1998 OCT-DIC; (84)

Página(due south): 83-124

ISSN: 02105233

Título: Fotógrafos modelo. Fotografía en prisión

Revista: Foto Profesional, 1999 JUN; (198)

Página(due south): 22

ISSN: 02119552

Título: En los límites del horror.

Autores: Travezán, Jaime.

Revista: Arte Fotográfico: Revista Mensual al Servicio de la Fotografía, el Cine Amateur y el Video, 1999; (550)

Página(southward): 34-40

ISSN: 05149193

Título: Una imagen vale más que mil palabras

Autores: V. Lauchert, 1000.

Revista: Labor Dental Clínica, 2005 JUL; half dozen (3)

Página(due south): 78-84

ISSN: 15751783

Resumen: El potencial del márketing a través de una buena información no siempre es valorado correctamente. La información, tal y como es utilizada normalmente, es un tema impopular. Pues, ¿quién invierte realmente mucho tiempo, que como se sabe cuesta dinero, para una cosa que no es pagada razonablemente? Sin embargo, existen muchas posibilidades de dar a conocer rápidamente los componentes básicos de la odontología con imágenes de alta calidad y presentarlos a los pacientes con los modernos medios de comunicación. Kay v. Lauchert explica cómo se concreta todo ello en el siguiente trabajo. Palabras clave: márketing, publicidad, comunicación, fotografía, fotografía digital.

Título: Color, Calor

Revista: Visual, 1992; (32)

Página(due south): 65-70

ISSN: 11330422

Resumen: La descontextualización de las imágenes de la fotografía comercial proporcionan una nueva perspectiva a estos trabajos que, precisamente por los motivos que posibilitaron su existencia, pasan dues nuestros ojos semicamuflados en ese bombardeo diario de imágenes east información. Las exposiciones organizadas por colectivos o asociaciones de profesionales -en el caso que nos ocupa la de la Asociación de Fotógrafos de Publicidad y Moda de Valencia- sirven para potenciar un ejercicio de reflexión sobre la labor de los profesionales de la fotografía que ponen su técnica y su «savoir faire» al servicio del mercado.

Título: La fotografía sin límite

Revista: Visual, 1992; (thirty)

Página(s): 51-62

ISSN: 11330422

Resumen: A lo largo de muchos años de profesión Carlos Aguado ha tenido que fotografiar todo tipo de productos en todo tipo de situaciones, fundamentalmente debido a su prinicipal cliente: la publicidad. Este potencial riesgo ha sido la excusa para convertir la fotografía en united nations divertimento, donde iluminar se ha convertido en sinónimo de bordar.

Título: Fotografía eterna, publicidad efimera

Revista: Visual, 1989; (ane)

Página(s): 42-46

ISSN: 11330422

Resumen: La Asociación de Fotógrafos Profesionales de Publicidad y Moda de Madrid (AFP/PMM) organiza una muestra itinerante, que partió de Madrid (Museo Español de Arte Contemporáneo) el pasado mes de abril como reflejo de un trabajo visual fotográfico de alto nivel global. La muestra resume todos los campos de aplicación cubiertos por los profesionales de la asociación: el bodegón, la moda, los grandes objetos, la imagen editorial, la fotografía industrial, los efectos especiales, etc. La muestra está diseñada como un acercamiento didáctico a la fotografía, aplicada de modo que tanto su montaje como los textos del catálogo y paneles tienen un sentido divulgativo.

Título: La imagen en la publicidad: la fotografía al servicio de la documentación publicitaria y los derechos de autor.

Autores: Marcos Recio, J.1000.; Sánchez Vigil, J.M.; Villegas Tovar, R.

Revista: SCIRE: Representación y Organización del Conocimiento, 2005 SEP-DIC; 11 (2)

Página(s): 119-132

ISSN: 11353716

Resumen: El valor de la imagen ocupa cada vez más espacio y tiempo en los medios de comunicación. La forma de ser de las personas, la manera de vivir o de comprar está influenciada por la publicidad. Pero ¿qué hay tras la imagen?, ¿qué aporta una marca a la sociedad? Se estudia el tratamiento fotográfico desde el punto de vista del arte, de la comunciación y de los derechos de autor, así como su normalización a nivel internacional; además, el tratamiento documental de la imagen y de la fotografía usada en la publicidad y las relaciones públicas como referente para la conservación del patrimonio publicitario. Para ello, se han de seleccionar las imágenes, someterlas a un análisis documental, establecer los derechos legales que tienen y organizarlas para que su recuperación sea más efectiva. La publicidad, sin la imagen, no sería apenas efectiva, pero plantear cualquier estrategia de comunicación se requiere también un estudio, una investigación y un análisis de los que la imagen aporta a la misma.

Título: Jornadas Fadoc (XVIII) Fotografía y publicidad: aspectos informativos y documentales

Autores: Sánchez Vigil, Juan Miguel

Revista: Revista General de Información y Documentación, 2009; nineteen

Página(due south): 415-418

ISSN: 11321873

Resumen: Presentación de las conferencias de las Eighteen Jornadas de la Facultad de Ciencias de la Documentación, dedicadas a los aspectos informativos y documentales de la Fotografía y la Publicidad. Los contenidos se estructuraron en cuatro sesiones: experiencias profesionales, agencias y fototecas, gestión y difusión de la fotografía, y aplicaciones.

Título: Advertizing Photography .

Autores: Lewis, Charles W.^one

Fuente: History of the Mass Media in the Us: An Encyclopedia; 1998, p22-23, 2p

Tipo de documento: Reference Entry

Términos geográficos:

Resumen:

The commodity presents a definition for the term « advertising photography.» It is said that non until the twentieth century did photography became fundamental to advertizement in the U.South. During the late nineteenth century, almost advertisers refused to encompass photography . Photography promoted individuals, businesses, and government policy. The quality of photographic reproduction was affected by the poor quality of the paper used by many mass newspapers, periodicals, and catalogs. More photographs were used by advertisers in the 1920s.

ISBN:9781579580124

Título: Advertising in the Age of Hypersignification.

Autores: Goldman, Robert^one Papson, Stephen²

Fuente: Theory, Civilisation & Gild; Aug94, Vol. eleven Outcome 3, p23-53, 22p

Tipo de documento: Commodity

Resumen:

The commodity examines advertising campaigns from 1986 to 1989 called hypersignification that tried to reverse widespread doubts most the credibility or sincerity of media representations. In the mid-1980s, the slick smoothen of realist colour photography gave way to an eruption of exaggerated realist conventions. Colour photorealism emphasized the perfection and allure of commodities. Along with sleeky graphics, this fashion of colour photography located the material desirability of objects on the page or screen itself. The ideal in commercial photography from the 1950s through the early 1980s was to flawlessly simulate material objects. Television advertisements suffered a loss of texture. Prompted by popular criticism of advertisement , advertisers sought a signification style that would reintroduce a sense of everdayness. Advertisers moved to regain a sense of texture that could exist juxtaposed in semiotic opposition to glossy. This is what motivated the recovery of graininess in photography . Coordination of realism and reflexivity is a visual concentration on back regions. From 1986 to 1988, numerous advertisements featured the backstage region making viewers privy to the procedure of producing the advertisement. These advertisements proposed that the finished text is secondary to the process of its structure. They exposed the advertisements every bit constructed artifacts whose polished appearance is contrived. Hyperreal encoding points to efforts to connote a sense of unmediated reality, but e'er via a coding system that is mediated.

ISSN: 0263-2764

Número de acceso: 11559504

Título: What's Behind the Spectacle? An Update on the Overlooked: Stock Photography and the Visual Content Manufacture.

Autores: Frosh, Paul¹ msfrosh@mscc.huji.ac.il

Fuente: Conference Papers — International Communication Association; 2007 Annual Coming together, p1-xx, 20p

Tipo de documento: Briefing Paper

Resumen:

This paper analyses developments over the past 3 years in the stock photography industry, the global multi-billion dollar business that articles the majority of advertising and marketing images, and an increasing number of editorial and news photographs. Focusing on how the manufacture shapes the visual groundwork to our lives – and the 'monopoly of appearance' (Debord 1970: 12) of our societies – the paper critically examines stock photography's identify at the very borderland of gimmicky cultural dynamics: technological change, globalization, struggles over the legal and social definitions of intellectual 'belongings' and cultural authority, the aestheticization of the lifeworld, and the apparently incessant conquest of material and virtual spaces by increasing numbers of visual images. It does this past briefly looking in turn at three interlinked questions: one) how does the industry currently organize representational power and cultural authority; 2) what is the reach of the industry, geographically, historically (command over archives) and in terms of economic sector (in relation to other cultural industries); three) what does 'the spectacle' look similar – what visual regime characterizes the stock industry and the domains it supplies? ..PAT.-Unpublished Manuscript [Abstract FROM AUTHOR]

Copyright of Briefing Papers — International Communication Association is the property of International Advice Association and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's limited written permission. However, users may impress, download, or email articles for individual use. This abstract may exist abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Número de acceso: 26951309

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Base de datos: Communication & Mass Media Complete

Título: Beyond PROPAGANDA, AESTHETICISM AND COMMERCIALISM: THE COMING OF AGE OF DOCUMENTARY PHOTOGRAPHY IN CHINA.

Autores: Jing Wu^one jwu@pku.edu.cn Yun Guoqiang²

Fuente: Javnost-The Public; 2007, Vol. fourteen Issue three, p31-48, 18p, xv bw

Tipo de documento: Article

Abstruse (English language):

The paper traces the development of documentary photography in modernistic China through case studies of photographers and their work in different periods of history. It argues that technological potential, social conditions and cultural values work together to enable and condition the development of specific styles of photography . The coming of age of documentary photography as an independent way of observing society and intervening in social change in Prc is the result of overcoming 3 institutional influences of art: propaganda, aestheticism and commercialism. The time to come development of this art form depends on its continued negotiation with these three institutional forces and its power to remain relevant to social processes. [ABSTRACT FROM AUTHOR]

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1318-3222

Número de acceso: 28340215

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Base de datos: Communication & Mass Media Complete

Título: DEFINING MOMENTS.

Autores: Buell, Halⁱ

Fuente: News Photographer; Mar2008, Vol. 63 Upshot 3, p30-39, 8p, 2 color, 3 bw

Tipo de documento: Article

Resumen:

The commodity discusses the chemical element of 'defining moments' in capturing images. According to the writer, a defining moment in photography is almost always a moment of consequence that is anchored from its reality and the preceding images that contributes to its power. He adds that these seldom modify the world but often touches or bumps history. The author thinks that the present roster of photographs considered to take defining moments exercise non actually possess the qualities he thinks qualifies equally such. He discusses some of the known «defining moments» photographs such as the marching American GIs beneath the Arc de Triomphe in World War Two taken by Pete Caroll and the execution of a suspected Vietcong leader by Vietnam's national constabulary main taken by Eddie Adams.

ISSN: 0199-242215

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Base de datos: Communication & Mass Media Consummate

Título: American Photography : A Century of Images.

Autores: Masteller, Richard Due north.¹ mastellerr@whitman.edu

Fuente: Film & History (03603695); Mar2000, Vol. 30 Issue 1, p74-75, 2p

Tipo de documento: Article

Resumen:

This article discusses the cultural and social significance of the photographic image as an artifact, rather than as art. The PBS series American Photographs: The Offset Century, curated by Merry Horesta at the Smithsonian Institution's National Museum of American Art, gives closeup and wide angle, pinhole and panorama, the straight photographic vision of lensman Paul Strand in the 1920s and digital manipulations of police investigators searching for missing children in the 1990s. Ranging in three hours over the last one hundred years of American photographic history, it dips into photography as fine art, as history, as advertisement , every bit journalism, equally politics, equally witness to the truth, as decoy for reality. Glimpses of the chestnuts: Dorothea Lange'south Migrant Female parent, Joe Rosenthal's Raising of the Flag at Iwo lima, The images of Auschwitz pb to Steichen's The Family of Human exhibition in 1955, are given. The PBS series breaks into iii segments: «The Developing Image, 1900-34»; «The Photographic Age, 1935-59»; and « Photography Transformed, 1960-1999.» This PBS venture does accomplish its intention of surveying the diversity and pervasiveness of photography in the twentieth-century America.

ISSN: 0360-3695

Número de acceso: 18756072

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Base de datos: Communication & Mass Media Complete

Título: Documentary Photography .

Autores: Smith, C. Zoe^one

Fuente: History of the Mass Media in the Us: An Encyclopedia; 1998, p187-189, 3p

Tipo de documento: Reference Entry

Resumen:

The article presents an encyclopedia entry for documentary photography . Documentary photography is described every bit social documentary. The stardom between documentary photography and social documentary involves the photographer'south intention. Social documentarians, sometimes known as social reformers, have a perspective they are trying to convey almost difficult social issues which acknowledge their attempt to influence current weather.

ISBN:9781579580124

Número de acceso: 21548131

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Base of operations de datos: Advice & Mass Media Complete

Título: Metropolitan Surveillance and Rural Opacity: Hole-and-corner Photography in Nineteenth-Century Ireland.

Autores: Baylis, Gail¹

Fuente: History of Photography; Feb2009, Vol. 33 Issue 1, p26-38, 13p

Tipo de documento: Essay

Descriptores:

Resumen:

This essay considers the significance of the Foucaultian notion of surveillance in accounts of the history of photography , raising the question whether Ireland'due south colonial placement during the nineteenth century led to a different history of the medium. The study focuses on Irish gaelic Special Branch's adoption of clandestine photography during the latter part of the nineteenth century in order to decide why this type of photography was considered useful. Information technology too pays attention to the types of photographs collected by the Co-operative. The author situates Special Branch's adoption of secret photography within a visual economy in Republic of ireland where an alternative type of imagery (commercially produced eviction photographs) was employed to construct a different annals for what constituted legitimacy and lawlessness. In addition, emphasis is placed on the function of photography in Ireland within a larger discursive framework of colonial policy making. Visibility is crucial to the Foucaultian model, and the failure to embed such signs in both the photographs produced and collected past Special Co-operative indicates that it was possible to produce lacunae in the power/cognition paradigm. The writer concludes that the history of the deployment of secret photography in Ireland reveals how it failed to produce the required visual signs needed to win consent for control. [ABSTRACT FROM AUTHOR]

Copyright of History of Photography is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's limited written permission. However, users may impress, download, or email manufactures for individual apply. This abstract may be abridged. No warranty is given about the accurateness of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

ISSN: 0308-7298

Número de acceso: 37132603

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Base de datos: Advice & Mass Media Consummate

Título: Advertising .

Fuente: Communication Arts; Aug96, Vol. 38 Effect iv, p6, 28p, 39 color, 22 bw

Tipo de documento: Article

Resumen:

Features the winning photographs in the advertising category of `Communication Arts' magazine's 1996 Photography Annual contest.

ISSN: 0010-3519

Número de acceso: 9701281773

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Base of operations de datos: Communication & Mass Media Complete

Título: PHOTOGRAPHY , Retention AND NOSTALGIA.

Autores: Yung-Ho Im^ane yhoim@pusan.ac.kr

Fuente: Javnost-The Public; 2007, Vol. fourteen Issue iii, p65-78, 14p, 6 bw

Tipo de documento: Article

Abstruse (English):

Based on the photographs of Ki-chan Kim, this essay examines how the tradition of documentary photography in Korea evolved in terms of subject, manner, and ways of seeing. Information technology emerged as a humanistic response to the harsh social reality of the 1940s in an oppressive political atmosphere for photographers dealing with socially sensitive subjects. Hence, a compromise betwixt roles of the arts and social muckraking characterised the evolving documentary tradition. In documenting the back streets of Seoul, Kim tends to reduce a subject with wide social implications to an introspective story of personal memory, thus representing the Korean documentary tradition. [Abstract FROM AUTHOR]

Copyright of Javnost-The Public is the property of European Institute for Communication & Culture (EURICOM) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder'southward express written permission. Even so, users may print, download, or email articles for private use. This abstract may exist abridged. No warranty is given well-nigh the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

ISSN: 1318-3222

Número de acceso: 28340217

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Base of operations de datos: Communication & Mass Media Consummate

Título: The Past, Nowadays and Futurity of the History of Photography : Interviews with Peter C. Bunnell, Gretchen Garner and Britt Salvesen.

Autores: Hershberger, Andrew E.^one

Fuente: History of Photography; Autumn2006, Vol. 30 Issue iii, p203-211, 9p

Tipo de documento: Article

Resumen:

The irresolute profile of the History of Photography , every bit a discipline, is charted in this interview. Andrew E. Hershberger organized the discussion using the rubrics of 'words', 'medium', 'time', 'memory', 'progress' and 'substance'. The three respondents consider the past, present and futurity status of the field within this framework. [ABSTRACT FROM Writer]

Copyright of History of Photography is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder'southward express written permission. However, users may impress, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

ISSN: 0308-7298

Número de acceso: 22932769

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Base de datos: Communication & Mass Media Complete

Título: Unblushing Realism and the threat of the pictorial: Photographic Survey and the production of evidence 1885-1918.

Autores: Edwards, Elizabethⁱ

Fuente: History of Photography; Feb2009, Vol. 33 Consequence ane, p3-17, 15p

Tipo de documento: Article

Resumen:

The late nineteenth century saw a mass of photographic projects which harnessed the energies of amateur photographers in making 'tape photographs'. This essay explores the tensions between record photography and the aesthetic aspirations of amateur photographers who participated in the photographic survey movement in England betwixt 1885 and 1918. The aim was to harness the evidential qualities of photographs to recording antiquities, ancient buildings and other social and fabric survivals of the by for the do good of the time to come. These loosely associated groups of photographers, in local camera clubs and the photographic sections of local antiquarian and archaeological societies, were united in a sense of purpose, attempts at institutional rigour and, above all, a belief in the evidential forcefulness of photographs. Yet their efforts were threatened at every turn with the dissipation of such objectives through the ambiguities of photographic inscription and of fashion, and through the desires of photographers themselves. I debate that these tensions constitute a struggle over the social part of photography and its aesthetics aspirations, between individual and commonage engagements with the medium and between forms of noesis and the moral values that embed them, which went to the eye of social expectations of the medium. [ABSTRACT FROM Writer]

Copyright of History of Photography is the belongings of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's limited written permission. However, users may print, download, or email articles for individual use. This abstract may exist abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

ISSN:0308-7298

Número de acceso:37132601

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Base of operations de datos:Advice & Mass Media Complete

Título: Photography and Surrealism: Sexuality, Colonialism and Social Dissent Metropolis Gorged with Dreams: Surrealism and Documentary Photography in Interwar Paris.

Autores: Harris, Steven

Fuente: History of Photography; Winter2005, Vol. 29 Issue 4, p383-385, 3p

Tipo de documento: Book Review

Resumen:

The article reviews two books including « Photography and Surrealism: Sexuality, Colonialism and Social Dissent,» by David Bate and «City Gorged with Dreams: Surrealism and Documentary Photography in Interwar Paris,» past Ian Walker.

ISSN: 0308-7298

Número de acceso: 19998008

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Base of operations de datos: Communication & Mass Media Complete

Título: Myth and Photography in Advertising : A Semiotic Analysis.

Autores: Page, Janis Teruggi^one jpage@jou.ufl.edu

Fuente: Visual Communication Quarterly; Jun2006, Vol. xiii Issue 2, p90-109, 20p, 3 bw

Tipo de documento: Article

Resumen:

For 18 years, Kohler's «As I See It» ad campaign has delivered romanticized and fantasized portraits of high-terminate kitchen and bathroom fixtures. Drawing from semiotic and psychoanalytic theories and disquisitional frameworks, this article examines 4 advertisements created by surrealist photographer Hugh Kretschmer. The visuals embody symbols, metaphors, and mythic allusions as signs of a transformative human relationship betwixt female models and products, connoting referents of human commodification, self-alienation, sex, and desire. The study calls for public relations stewardship to act every bit a gatekeeper for ambiguous or unintended visual messages in corporate advertisement . [ABSTRACT FROM AUTHOR]

Copyright of Visual Communication Quarterly is the property of Lawrence Erlbaum Associates and its content may non be copied or emailed to multiple sites or posted to a listserv without the copyright holder'south express written permission. However, users may print, download, or email articles for individual use. This abstruse may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the fabric for the full abstruse. (Copyright applies to all Abstracts.)

ISSN: 1555-1393

DOI: 10.1207/s15551407vcq1302_3

Número de acceso: 22751778

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Base de datos: Communication & Mass Media Consummate

Título: Welfare Capitalism and Documentary Photography : Due north.C.R. and the Visual Product of a Global Model Factory.

Autores: Chocolate-brown, Elspeth H.^one

Fuente: History of Photography; Summer2008, Vol. 32 Issue 2, p137-151, 15p

Tipo de documento: Article

Resumen:

This article examines the utilize of photography in promoting welfare capitalist initiatives at the National Cash Register Company (North.C.R.) of Dayton Ohio in the early twentieth century. The article argues that the visitor'due south founder, John H. Patterson, became interested in both industrial betterment schemes and their photographic documentation as a result of industrial demolition. In response to working-class antipathy to the greenbacks register itself, which was viewed as a technology of workplace surveillance, Patterson introduced factory improvement schemes that benefited workers at the Dayton establish. Photographs and lantern slides documenting these improvements became key to Patterson'south international publicity campaign to render the Dayton plant a global showcase for progressive concern practices. The circulation of these images in a global reform network allowed them to office, the commodity argues, as fetishes of Progressive-era utopianism, obscuring the violent details of early on twentieth-century factory life. Like the cash register itself, which became an international article in the 1880s, the photographs documenting the triumphs of N.C.R.'s industrial betterment programme gain their value in relations of exchange, as they circulate in a global network of Progressive-era conferences, exhibitions, and educational endeavours designed to ameliorate the human costs of industrial capitalism. [ABSTRACT FROM Author]

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ISSN: 0308-7298

Número de acceso: 31888014

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Base de datos: Communication & Mass Media Complete

Título: The Coming Revolution in Advertisement : 10 Developments Which Will Separate Winners from Losers.

Autores: Clancy, Kevin J.^one

Fuente: Journal of Advertising Research; Feb/Mar90, Vol. 30 Effect 1, p47-52, 6p, 1 bw

Tipo de documento: Article

Resumen:

The article discusses developments which volition transform the advertising manufacture in 2020. The first development is that rates of failure are forcing markets to consider options and alternatives for the marketing mix. 2nd is a shift in the criteria for evaluating marketing mix options. Third is the increased pressure being experienced by advertising agencies to develop campaigns that produce a render on investment. 4th is the emergence of message-engineering technologies. Fifth is the ascent of nonverbal response measures such every bit psychophysiologic measures and fourth dimension-lapse photography .

ISSN: 0021-8499

Número de acceso: 9605230808

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Base de datos: Communication & Mass Media Complete

Título: Henri Cartier-Bresson Reinterprets his Career.

Autores: Cookman, Claude^one

Fuente: History of Photography; Spring2008, Vol. 32 Issue 1, p59-73, 15p

Tipo de documento: Article

Resumen:

Betwixt 1952 and 1974, Henri Cartier-Bresson significantly revised his understanding of himself every bit a photojournalist. This commodity analyses that change through close readings of his book, The Decisive Moment (1952), an interview in Le Monde (1974), and other published statements and unpublished letters past Cartier-Bresson. It draws on interviews and correspondence with his widow Martine Franck, with his friend and representative Helen Wright, and with associates at Magnum Photos. It argues that what appears from a superficial reading of the interview to be a rejection of photography and photojournalism was in fact Cartier-Bresson's first public expression of a long-simmering opposition to the consumer order – which he equally an ecologist strongly opposed – and to way and advertising photography , which he believed promoted unnecessary consumption. It concludes that Cartier-Bresson reinterpreted his by past seeing himself as a surrealist to the denial of having done photojournalism. The article is predicated on the belief that understanding the change in Cartier-Bresson's own formulation of his work is essential to a total understanding of it. [ABSTRACT FROM Writer]

Copyright of History of Photography is the property of Taylor & Francis Ltd and its content may not exist copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. Nevertheless, users may print, download, or e-mail articles for individual utilise. This abstract may exist abridged. No warranty is given almost the accurateness of the copy. Users should refer to the original published version of the material for the full abstruse. (Copyright applies to all Abstracts.)

ISSN:0308-7298

Número de acceso:28805468

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Base de datos: Communication & Mass Media Consummate

Visualizing the Rhetorical State of affairs of Hurricane Katrina: Photography , Popular Culture, and Significant in Images.Cita disponible únicamente By: Berth, Paul; Davisson, Amber. American Communication Journal, Spring2008, Vol. x Effect 1, p4-4, 1p; (AN 37329108)

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A Sack in the Sand: Photography in the Age of Information.Cita disponible únicamente Past: Lister, Martin. Convergence: The Journal of Enquiry into New Media Technologies, Aug2007, Vol. xiii Effect 3, p251-274, 24p; DOI: 10.1177/1354856507079176; (AN 26373207)

Database: Advice & Mass Media Consummate

Professional person Advert Photography .Texto completo disponible Journalism Quarterly, Autumn91, Vol. 68 Effect 3, p552-552, 1/8p; (AN 9203232595)

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Capturing Everyday Moments: Shifts in the Codes of Domestic Photography .Texto completo disponible Past: Gale, Kendra. Briefing Papers — International Communication Association, 2007 Annual Meeting, p1-1, 1p; (AN 26949837)

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Women, Power, and Photography in the New York Times Magazine.Cita disponible únicamente Past: Sultze, Kimberly. Periodical of Communication Inquiry, July2003, Vol. 27 Issue three, p274, 17p; (AN 10249457)

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Periodical

Advertising creative reviewed.Cita disponible únicamente Past: McMillan, Sam. Communication Arts, Jan/Feb2010, Vol. 51 Effect 6, p34-34, one/7p, i bw; (AN 47524640)

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Mechanical Reproduction in the Age of Art.Cita disponible únicamente By: Mattick Jr., Paul. Theory, Civilisation & Society, May93, Vol. 10 Result 2, p127-147, 21p; (AN 11498391)

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Photojournalism in the Twentieth Century.Texto completo disponible By: Peterson, John C.. History of the Mass Media in the Usa: An Encyclopedia, 1998, p516-519, 4p; (AN 21548352)

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80 Photographers, 46 Images, 116 Subjects, 1 Community.Cita disponible únicamente Past: Boches, Edward. Communication Arts, Aug2002, Vol. 44 Result iv, p228, 3p, i color, 2 bw; (AN 7235642)

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Antoni Wieczorek: A Photographer at the Turning Indicate.Cita disponible únicamente By: Szymanowicz, Maciej. History of Photography , Autumn2008, Vol. 32 Issue three, p260-271, 12p; (AN 32432266)

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Perceiving Press Photography . Who Sees What, When, How?Cita disponible únicamente By: Mueller, Marion; Kappas, Arvid; Olk, Bettina. Conference Papers — International Communication Association, 2007 Annual Meeting, p1-one, 1p; (AN 26950654)

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On Photographing Disasters.Cita disponible únicamente Past: Longinow, Michael A.. News Photographer, Aug2008, Vol. 63 Issue 8, p51-51, 1p; (AN 34070368)

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Social Documentary Photography : An Appreciation.Texto completo disponible By: Young, Stephanie L.. Review of Advice, Jul2008, Vol. viii Issue three, p254-256, 3p; DOI: x.1080/15358590701851657; (AN 36205027)

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Periodical

Non-Traditional Advertizing .Cita disponible únicamente Communication Arts, Dec2006, Vol. 48 Issue seven, p86-87, 2p; (AN 23428108)

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Information technology However Is 'Commercial' Fine art & Photography .Cita disponible únicamente By: Gordon, Barbara. Communication Arts, January/Feb2003, Vol. 44 Effect 8, p18, 1p; (AN 9102947)

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What are we expected to experience? Witness, textuality and the audiovisual.Cita disponible únicamente By: Ellis, John. Screen, Spring2009, Vol. 50 Issue 1, p67-76, 9p; DOI: ten.1093/screen/hjn077; (AN 38332618)

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The Prototype Factory.Cita disponible únicamente European Journal of Advice, Sep2004, Vol. 19 Upshot 3, p417-417, 2/3p; (AN 14412326)

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Upstanding Implications of Electronic Still Cameras and Estimator Digital Imaging in the Print Media.Texto completo disponible By: Parker, Douglas. Journal of Mass Media Ideals, 1988, Vol. 3 Issue two, p47-59, 13p; (AN 14267802)

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The Unchanging Essence of War Photography .Texto completo disponible By: Osnos, Peter. Nieman Reports, Winter2008, Vol. 62 Issue 4, p79-85, 7p; (AN 36234897)

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REDISCOVERING THE (Actress)ORDINARY: MISSED EXPERIENCE AND SOUTH AFRICAN DOCUMENTARY PHOTOGRAPHY .Cita disponible únicamente / ODKRIVANJE (NE)OBIČAJNEGA: ZAMUJENA IZKUŠNJA IN JUŽNOAFRIŠKA DOKUMENTARNA FOTOGRAFIJA. Past: Wiesner, André. Javnost-The Public, 2007, Vol. 14 Issue 3, p7-29, 23p, 16 bw; (AN 28340214)

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Photojournalism and Documentary Photography .Texto completo disponible By: Kratochvil, Antonin; Persson, Michael. Nieman Reports, Fall2001, Vol. 55 Issue three, p27, 5p, 7 bw; (AN 5411836)

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Redoubling twin imagery.Texto completo disponible Advertising Age, 08/11/97, Vol. 68 Result 32, p26-26, 1/6p, iii color, 1 bw; (AN 9708202351)

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The Life Magazine Civil Rights Photography of Charles Moore 1958-1965.Texto completo disponible By: Kaplan, John. Journalism History, Winter99/2000, Vol. 25 Issue 4, p126, 14p, 8 bw; (AN 3338333)

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El uso de la fotografía en los diarios digitales españoles. (Spanish)Texto completo disponible / The utilise of the photography in the Spanish online dailys. (English language) Past: Caminos Marcet, José María; Marín Murillo, Flora; Armentia Vizuete, José Ignacio. Comunicacion y Sociedad, dic2006, Vol. 19 Issue ii, p9-38, 30p; Language: Castilian; (AN 24275162)

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El uso de la fotografía en los diarios digitales españoles. (Spanish)Texto completo disponible / The use of the photography in the Spanish online dailys. (English) By: Caminos Marcet, José María; Marín Murillo, Flora; Armentia Vizuete, José Ignacio. Comunicacion y Sociedad, dic2006, Vol. 19 Issue 2, p9-38, 30p; Language: Spanish; (AN 24275162)

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Private Lives, Public Places: Street Photography Ethics.Texto completo disponible By: Coleman, A. D.. Journal of Mass Media Ideals, 1987, Vol. 2 Consequence ii, p60-66, 7p; (AN 14268685)

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Written report

Visual Study of the Maasai Through Digital Photography .Texto completo disponible By: Legg, Karen; Salary, Christine; Fraser, Benson; Brownish, William; Kiruswa, Steven. Conference Papers — International Communication Association, 2007 Annual Coming together, p1-1, 1p; (AN 26951285)

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Using Photography to Enhance Language and Learning: A Moving picture Can Encourage a K Words.Texto completo disponible By: Tarulli, Nancy J.. Language, Oral communication, & Hearing Services in Schools, Jan98, Vol. 29 Event 1, p54-57, 4p; (AN 182539)

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Using Stylistic Properties of Advertisement Pictures to Communicate with Consumers.Texto completo disponible Past: PERACCHIO, LAURA A.; MEYERS-LEVY, JOAN. Journal of Consumer Research, Jun2005, Vol. 32 Issue 1, p29-40, 12p, two charts, 2 bw; (AN 17149241)

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Photography And State of war.Cita disponible únicamente Past: Winslow, Donald. News Lensman, Apr2008, Vol. 63 Consequence 4, p10-10, 1p; (AN 31932011)

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Is Photography True?Cita disponible únicamente By: Young, Bruce. News Photographer, Jun2004, Vol. 59 Upshot 6, p16-21, 6p; (AN 13540905)

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September 11: The Impact of Photography A Twelvemonth Later.Texto completo disponible By: Van Riper, Frank. Nieman Reports, Fall2002, Vol. 56 Consequence 3, p57, 3p; (AN 7516647)

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Does Printing Freedom Include Photography? Texto completo disponible By: Costa, Joseph. Nieman Reports, Winter99/Spring2000, Vol. 53/54 Consequence 4/ane, p175, 3p, 1 bw; (AN 3009079)

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De la fotografía documental al documento digital. (Spanish)Texto completo disponible / From the Documentary Photograph to the Digital Attachment. (English language) / Argazkilaritza dokumentaletik dokumentu digitalera. (Basque) By: Parejo Jiménez, Nekane. Zer: Revista de Estudios de Comunicacion, nov2008, Vol. thirteen Issue 25, p179-196, 18p; Language: Spanish; (AN 36120650)

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Photography : A Cultural History.Cita disponible únicamente By: Pohlad, Mark B.. History of Photography , Summer2006, Vol. 30 Event 2, p181-184, 4p; (AN 21481865)

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