De l'animation des images fixes dans "Me and You and Everyone we Know" : photographie, vidéo, cinéma

Ce mémoire de maîtrise porte sur l’animation des images fixes dans le film Me and You and Everyone we Know réalisé en 2005 par Miranda July, et tout particulièrement sur les pratiques artistiques de la protagoniste Christine Jeperson, qui est artiste vidéaste. L’objet de cette étude se fonde sur les matériaux utilisés par l’artiste-protagoniste elle-même, et vise en premier la photographie, puisqu’elle travaille toujours à partir de photos amateur, de clichés, d’images banales, qu’elle tente d’animer par le biais de la vidéo et de leur mise en récit. Ces deux dispositifs d’animation, qui à leur façon redonnent du temps et du mouvement aux images, réalisent un déplacement de valeur en en faisant de l’art et déploient du même coup un espace propre à une certaine expérience esthétique du spectateur, car c’est dans son imaginaire que peut véritablement se produire l’animation de ces images. Ainsi, dans ce mémoire, je tenterai tout à la fois de me concentrer sur ce détail du film que sont les œuvres de Christine, mais en cherchant à les mettre en relation avec d’autres moments du film, avec ce qui semble être les motifs privilégiés de la pratique de Miranda July, de même qu’avec d’autres moments de l’histoire de l’art, afin d’en historiciser la démarche. Ce travail servira donc à éclairer une pratique d’images contemporaine singulière, à la croisée entre photographie, vidéo et film.

A fotografia amadora e fotoclubista no Brasil e no México: trajetórias e conexões latino-americanas (1940-1950)

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

The Leica manual; a manual for the amateur and professional, covering the field of miniature camera photography

Subtitle varies slightly.

A dictionary of photography : for the amateur and professional photographer /

Advertisements printed on endpapers, and on p. i-ix and p. 242-261.

Modern photography in theory and practice; a hand book for the amateur.

Mode of access: Internet.

The dictionary of photography for the amateur and professional photographer /

"Bibliography of photography": p.73-80.

How to make good pictures : a book for the amateur photographer /

Mode of access: Internet.

How to study birds : a practical guide for amateur bird-lovers and camera-hunters /

Includes index.

Western camera notes; a monthly magazine of pictorial photography.

Subtitle varies.

The entrepreneurial vlogger : participatory culture beyond the professional-amateur divide

In this chapter, we frame YouTube as an example of “co-creative” culture – whatever YouTube is, it is produced dynamically (that is, as an ongoing process, over time) as a result of many interconnected instances of participation, by many different people. In order to understand these co-creative relationships, it is important not to focus exclusively on how the “ordinary consumer” or “amateur producer,” are participating in YouTube; rather, we argue it is necessary to include the activities of “traditional media” companies and media professionals, and more importantly, the new models of media entrepreneurialism that are grounded in YouTube’s “grassroots” culture. Hence, this chapter focuses the role that “YouTube stars” – highly visible and successful “homegrown” performers and producers – play in modelling and negotiating these co-creative relationships within the context of YouTube’s social network; and the new models of entrepreneurship within participatory culture that they represent.

Remediating vernacular creativity : photography and cultural citizenship in the Flickr photosharing network

Read through a focus on the remediation of personal photography in the Flickr photosharing website, in this essay I treat vernacular creativity as a field of cultural practice; one that that does not operate inside the institutions or cultural value systems of high culture or the commercial popular media, and yet draws on and is periodically appropriated by these other systems in dynamic and productive ways. Because of its porosity to commercial culture and art practice, this conceptual model of ‘vernacular creativity’ implies a historicised account of ‘ordinary’ or everyday creative practice that accounts for both continuity and change and avoids creating a nostalgic desire for the recuperation of an authentic folk culture. Moving beyond individual creative practice, the essay concludes by considering the unintended consequences of vernacular creativity practiced in online social networks: in particular, the idea of cultural citizenship.

Barbara at content too

Barbara at Content Too is a key work of the author's exhibition Lightsite, which toured Western Australian galleries from February 2006 to November 2007. It is a five-minute-long exposure photographic image captured inside a purpose-built, room-sized pinhole camera which is demountable and does not have a floor. The work depicts amateur botanist Barbara Miller-Hornsey conducting a botanical survey. The pinhole camera-room is sited with the biodiverse heath landscape at Bremer Bay in the Great Southern Region of Western Australia. The light from this exterior landscape is 'projected' inside the camera-room and illuminates the interior scene which includes that part of the heath upon which the floorless room is erected, along with Barbara who is kneeling inside. The image evokes the temporality of light. Here, light itself is portrayed as the primary medium through which we both perceive and describe landscape. In this way it is through the agency of light that we construct our connectivity to landscape.

Max Dupain and the photography of Australian architecture

This thesis considers Max Dupain (1911-1992) and his contribution to the development of architectural photography in Australia. Through his continuous and prolific output over six decades of professional photography Dupain greatly stimulated awareness of and interest in Australian architecture. Before Dupain began specialising in the field, little consistent professional architectural photography had been practised in Australia. He and some of his close associates subsequently developed architectural photography as both a specialised branch of photography and - perhaps more significantly - as a necessary adjunct to architectural practice. In achieving these dual accomplishments, Dupain and like-minded practitioners succeeded in elevating architectural photography to the status of a discipline in its own right. They also gave Australians generally a deeper understanding of the heritage represented by the nation's built environment. At the same time, some of the photographic images he created became firmly fixed in the public imagination as historical icons within the development of a distinctive Australian tradition in the visual arts. Within his chosen field Dupain was the dominant Australian figure of his time. He was instrumental in breaking the link with Pictorialism by bringing Modernist and Documentary perspectives to Australian architectural photography. He was an innovator in the earlier decades of his professional career, however, his photographic techniques and practice did not develop beyond that. By the end of the 1980s he had largely lost touch with the technology and techniques of contemporary practice. Dupain's reputation, which has continued growing since his death in 1992, therefore arises from reasons other than his photographic images alone. It reflects his accomplishment in raising his fellow citizens' awareness of a worthwhile home-grown artistic tradition.