This thesis explores the application of corporeally bereft urban landscapes in the medium of photography. In my case study, I examine Mauricio Lima's photographs as he retraces Eugéne Atget's steps...Show moreThis thesis explores the application of corporeally bereft urban landscapes in the medium of photography. In my case study, I examine Mauricio Lima's photographs as he retraces Eugéne Atget's steps in Paris during the height of the COVID pandemic of 2020. I aim to provide insights into the multiple roles and meanings that “empty places” can take on and connote. To elucidate, I engage with concepts such as the decontextualized place, Benjamin's notion of the Optical Unconscious, rephotography, and appropriation. Additionally, I question the use, shifts, and possible expanded meaning gained through the combination of images with text.Show less
Recently, many contemporary photographers have started using analogue photography again. This is an interesting occurrence, since we’re living in a digital age where everything is technologically...Show moreRecently, many contemporary photographers have started using analogue photography again. This is an interesting occurrence, since we’re living in a digital age where everything is technologically possible. It seems as if contemporary photographers using analog, step out of today's digitized society and into the world of old techniques. This thesis is a study about the use of photography in a digital age. The case study used in this research is the artwork And, where did the peacocks go? by Miho Kajioka. This photographer has created analogue images which are shown on the artist’s website and social media. Analogue and digital photography are widely discussed by media critics whose vision differs from each other. One group of critics advocates for analog photography and its material and indexical characteristics. Whereas, the digital medium has none of these components. The other group of critics advocates a new vision of the contemporary use of the medium photography. Based upon this debate, this thesis explores the relationship between contemporary use of analog and digital photography with Kajioka’s work as an example. Her work has different themes and elements that will provide insight into the complexity of indexicality in various forms. On this basis, it shows how the analog and digital medium has melted into each other and how the process of analog is important for the end result of Kajioka’s series.Show less
This thesis researches a number of key conceptualisations of photography that lead the photographic discourse. One of its leading threads runs via two domains which supposedly stand in opposition...Show moreThis thesis researches a number of key conceptualisations of photography that lead the photographic discourse. One of its leading threads runs via two domains which supposedly stand in opposition to one another: the aesthetic domain of the photograph has hampered its socio-political manifestation. A photograph identified as a work of art is at disadvantage of finding recognition for its social or political value since quality is measured first and foremost by means of aesthetic parameters. In Ariella Azoulay's theoretical work on photography lies a means of bridging photography’s aesthetic dimension to its socio-political nature. Using the concept of sensus communis as a tool for understanding Azoulay's conceptions, this thesis looks into the transitioning understanding of photography’s socio-political nature in relation to its aesthetic nature that evolved during the historical course of photographic theory.Show less
Many scholars have developed theories in the field of affect studies regarding the moving and the still image. Laura Marks is one of the scholars who has defined haptic visuality as an embodied way...Show moreMany scholars have developed theories in the field of affect studies regarding the moving and the still image. Laura Marks is one of the scholars who has defined haptic visuality as an embodied way of looking at the moving image. Her definition evolves around the equal relationship between the viewer and the image that is based on equality. The embodied viewer that uses her senses in making meaning of the photograph are a result of the visual characteristics of the image. In this thesis I have compared the moving and the still image with the result of finding out how some medium specific qualities create a similar haptic image. Moreover, I have included the materiality of the photograph and its spatial conditions as influential factors in stimulating the haptic experience of the photograph. The haptic experience of some images has been defined in accordance with Marks, but also regarding the affective response as a result of the personal relationship between the viewer and the family photograph. This thesis aims to examine how some qualities of photography create a haptic image, by incorporating the visual characteristics, materiality and spatial conditions of the selected art works.Show less
The topic of this thesis is backstage photography. Backstage photography is a genre within photography that contains intimate behind the scenes photos of celebrities. This thesis is focused on...Show moreThe topic of this thesis is backstage photography. Backstage photography is a genre within photography that contains intimate behind the scenes photos of celebrities. This thesis is focused on backstage photography within the music industry and in particular the rock & roll genre. Backstage photography however does not solely entail photos that are literally made ‘back stage’ (e.g. in the wings or dressing room of the artist); they also pertain all the photos that are made when the artist is ‘off stage’; whether that be on the street, at a bar or at home. Backstage photos are more private in comparison to the photos that are made of the artist on stage, but can still be part of a ‘public’ space. The main question of this thesis is what these backstage photos mean and how this relates to the photographic aspects of voyeurism and exhibitionism, journalistic and documentary photography in specific, and their position in portrait photography. The first chapter of this thesis explores the applicability of the concepts of voyeurism and exhibitionism to backstage photography. Particular effects such as absorption and ‘to-be-seennes’ are present in backstage photos, albeit incomplete: the artist is never fully absorbed but the photo also does not fully contain an embedded theatricality. The relationship between the artist and the photographer is of high importance; due to the intimate relationship between the subject and the photographer, the subject lowers its guard and allows the photographer to get closer than ever. As a result, the photos explore and explain the artist’ character in new ways. This in turn leads to exhibitionism and shows how the artist, even behind the scenes, partly remains in his role. The spectator of these photographs has certain expectations that the photographer aims to satisfy. The second chapter of this thesis discusses in which ways photojournalistic and documentary photography fit with the concept of backstage photography. The argument is made that backstage photography can be viewed as a result of two important developments: the rise of the tabloid press where photos were first published in the media and the rampant rise of the music industry that permeated global culture and new methods of production, marketing and distribution were realized. It is important to note that a backstage photo can initially be categorized as photojournalism and become part of documentary photography later. Whereas photo assignments are being done under the pretence of photojournalism, they may eventually ‘evolve’ into products of high artistic value and be considered as documentary photography or even ‘art photography’. The third and final chapter analyses the position of the backstage portrait photo. A backstage portrait differs from any other portrait because of the location, setting and attitude or feeling of the photographed artist. Besides, these portraits are often not published at the time they were made. Therefore, the argument can be made that the backstage portrait is part of the private domain instead of the public. This domain changes once the photo does get published. Interestingly, the backstage photo is made in a more private environment, but the model is a public figure. Backstage photos are intriguing because they give a new, different image of a celebrity. Our fascination with the human face resulted in an ever-growing celebrity culture. We like to see how public characters behave on the stage, but even more so within private environments. Backstage photography embraces these desires.Show less
