O cinza e a carne: imagens do Conjunto Habitacional Zezinho Magalhães Prado

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Gênero, saber e poder: mulheres nas engenharias da Universidade Federal do Pará

O objetivo geral desta pesquisa é compreender e explicar as questões de gênero e suas implicações, envolvendo saber especializado e poder, com leitura nas relações desiguais entre homens e mulheres no campo das engenharias. Com recorte na Universidade Federal do Pará (UFPA), mais precisamente nos cursos de Engenharia Civil e Engenharia de Minas e meio Ambiente, evidenciados neste estudo pelo fato de aglomerarem o maior e o menor contingente feminino respectivamente. Por se tratar de um campo que historicamente tem sido ocupado majoritariamente pelos homens, há de se considerar que mulheres ao fazerem essa opção profissional enfrentam desafios sociais e culturais que permeiam as relações entre sexos. Deste modo, busca-se também compreender as motivações e as influências que as levam escolher a área das engenharias, bem como as dificuldades que enfrentam, as estratégias que utilizam para se manterem neste campo, e suas perspectivas quanto à profissão. A investigação adotada para a pesquisa combinou levantamento bibliográfico, estatístico, documental e fotográfico, com a realização de entrevistas semiestruturadas abordando discentes e docentes femininas dos dois cursos de engenharia selecionados, as quais, através da história oral, puderam relatar suas experiências vividas no cotidiano acadêmico e profissional. Os resultados desta investigação associados à teoria pertinente revelou que embora tenha aumentado a inserção de mulheres nos cursos de engenharias da UFPA, a maioria delas faz a escolha por acaso, justificado pela falta de orientação educativa ou porque onde os cursos são disponibilizados, não lhes oferecem outra opção. Elas ainda são limitadas em sua autonomia e liberdade de escolha, por discursos vinculados às relações de poder que sutilmente demarcam o campo profissional, quando associam o ambiente das engenharias à natureza feminina.

Aspectos da cultura rural tradicional na Reforma Agrária: estudo nos assentamentos de Presidente Venceslau, SP

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Through the Lenses of Q’eqchi Maya: (Re)Framing the Story of Development in a Guatemalan Indigenous Community Through Participant-Created Photographs

The question of evaluations of development projects has been widely debated within the field of international development, with scholars and development practitioners calling for increased community-driven evaluations. However, there has been a paucity of research in community-led project evaluations, and a largely absent investigation utilizing visual anthropology/sociology methodologies. This paper seeks to shift this power by giving voice to the intended beneficiaries of an eco-tourism project in a rural indigenous Guatemala village. Through photographs taken by community members and corresponding interviews, this paper shows the way in which community members have and continue to reframe the idea of development in their village. Specifically, my analysis reveals how residents see changing forms of access, how they reframe ideas of beauty and modernization, and how they reframe their relationship to the land through Western conservation and private property ideals. This research thus provides an alternative narrative to the Western NGO’s evaluations and knowledge production, especially in respect to development and indigenous knowledge. By showing how community members are reframing the story of development, this paper demonstrates the usefulness of using participatory documentary photography in community-led evaluations, and helps balance the playing field by providing a much-needed alternative narrative of project evaluation.

Hacia una Antropología compartida. Reflexiones, experiencias y propuestas acerca de la fotografía participativa en investigación antropológica

Este artículo tiene dos objetivos principales. En primer lugar, trazar un recorrido por las experiencias colaborativas a través de la fotografía y el video en Antropología, y en segundo lugar, contextualizar y mostrar los resultados de una investigación realizada recientemente sobre proyectos de fotografía participativa impulsados desde colectivos de fotógrafos documentales. Para estos objetivos me he centrado en trabajos pioneros y en autores que han puesto a prueba este tipo de metodologías con niños y adolescentes, escenario de mi trabajo de campo. Esta investigación, que está en sus comienzos, pretende buscar sinergias con otros profesionales y poder así establecer teorías y colaboraciones de cara a próximos proyectos de investigación aplicada a través del uso de los medios audiovisuales.

Spanish Photography Yearbooks between the Autarchy and the Transition A Documentary Analysis (1958-1980)

The first yearbook on Spanish artistic photography was published in 1924 and following the Civil War of 1936-1939, Madrid’s Real Sociedad Fotográfica, through its Sombras magazine, published two others in 1946 and 1948. There would not be another publication until 1958, when the Agrupación Fotográfica Almeriense put out the third yearbook, during a period of economic recovery following the country’s admission to the U.N. at the end of 1955. However, it was not until 1972 when Spanish photography resumed the publication of annual summaries of the authors and their works. From then on until 1980, nine yearbooks were published by two institutions: The Consorcio del Libro Técnico (Cotec) and the Editorial Everest publishing company. The object of this study is to analyze the contents of these yearbooks in order to determine and furnish new data on the history of Spanish photography: authors, works, publications, national and international relations and the purpose of their publications as a means for supporting photography.

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.

Documentary as history, memory, dream and film

A century ago, as the Western world embarked on a period of traumatic change, the visual realism of photography and documentary film brought print and radio news to life. The vision that these new mediums threw into stark relief was one of intense social and political upheaval: the birth of modernity fired and tempered in the crucible of the Great War. As millions died in this fiery chamber and the influenza pandemic that followed, lines of empires staggered to their fall, and new geo-political boundaries were scored in the raw, red flesh of Europe. The decade of 1910 to 1919 also heralded a prolific period of artistic experimentation. It marked the beginning of the social and artistic age of modernity and, with it, the nascent beginnings of a new art form: film. We still live in the shadow of this violent, traumatic and fertile age; haunted by the ghosts of Flanders and Gallipoli and its ripples of innovation and creativity. Something happened here, but to understand how and why is not easy; for the documentary images we carry with us in our collective cultural memory have become what Baudrillard refers to as simulacra. Detached from their referents, they have become referents themselves, to underscore other, grand narratives in television and Hollywood films. The personal histories of the individuals they represent so graphically–and their hope, love and loss–are folded into a national story that serves, like war memorials and national holidays, to buttress social myths and values. And, as filmic images cross-pollinate, with each iteration offering a new catharsis, events that must have been terrifying or wondrous are abstracted. In this paper we first discuss this transformation through reference to theories of documentary and memory–this will form a conceptual framework for a subsequent discussion of the short film Anmer. Produced by the first author in 2010, Anmer is a visual essay on documentary, simulacra and the symbolic narratives of history. Its form, structure and aesthetic speak of the confluence of documentary, history, memory and dream. Located in the first decade of the twentieth century, its non-linear narratives of personal tragedy and poetic dreamscapes are an evocative reminder of the distance between intimate experience, grand narratives, and the mythologies of popular films. This transformation of documentary sources not only played out in the processes of the film’s production, but also came to form its theme.

Regarding the Real: Cinema, Documentary, and the Visual Arts

Regarding the Real: Cinema, Documentary, and the Visual Arts develops an interdisciplinary approach to documentary film, focusing on its cultural and formal relations to other visual arts, such as animation, assemblage, photography, painting, sculpture, and architecture. The book considers the work of figures whose preferred film language is associative and fragmentary, and for whom the documentary is an endlessly open form, an unstable expressive phenomenon that cannot but interrogate the validity of its own narratives and representational modes. Combining close analysis with cultural history, Regarding the Real calls for a re-assessment of the influence of the modern arts in subverting the structures of realism typically associated with documentary filmmaking.

Retake Melbourne : mobile application for re-photography and comparative imaging research

A project of interpretive and comparative re-photography, making use of the collection of Mark Strizic's images and the documents related to his career, held by the State Library, as a basis. Strizic died in 2012. It is now 50 years since his work began to illustrate the period of the 1960s when architecture of the Gold Rush era coexisted side-by-side with, and was being replaced by, curtain-glass high-rise office buildings. It is the position of the researchers that not sufficient attention has been given to Mark Strizic’s reaction to what he saw as a plague of ugliness pervading Australian city-scapes, developing a distinctive aesthetic that in turn made his work useful to commentators like Robin Boyd and David Saunders. Strizic operated from a unique perspective as a migrant with an architectural heritage from his father Zdenko, prominent architecture professor in Croatia, and visiting professor of architecture at Melbourne University in the 1960s. Precise re-photography alongside creative work will enable a comparison of Melbourne now with fifty years ago. The public will be able to participate in and contribute to the project via a crowd-funded custom-made app. Half a century has passed since Strizic made his photographs of Melbourne. In so many cases buildings have disappeared or altered, streetscapes have changed and the appearance of Melburnians have changed as have their habits of using the city. A selection of Strizic’s photographs of Melbourne locations can be rephotographed by the public using the methods devised by Mark Klett, assisted by the app software. This will provide a core of documentary imagery of benefit in framing and completing the rest of this project and to future research through comparisons over the time span. The app enables the location on a map of the site and orientation of photographs taken by Strizic. Photographs are downloaded onto users’ devices from the online SLV Strizic picture catalogue. They appear in the app as transparent templates so that users can line up their own re-photograph with accuracy. They will be able to upload their resultant images to a server and they will be available to the Library as an archive enabling direct comparison with the Strizic holdings. It is anticipated that involvement and participation of the public will elevate the profile of the project and publicise the SLV collections and encourage their increased usage and popularity.

"A noite branca", between the Documentary and Fictional: the Silenced Account of the Blue Division

The article explores the ambiguous phenomenological status of the novel A noite branca (The White Night) by Francisco Fernández Naval, published in Galician in 2012. This ambiguity is produced by the discursive hybridity of the novel and by the vague ontological status of facts narrated and by several characters. The clarification of the strategies of the said ambiguity, and the originality of the subject, in the whole of Galician narrative about the memory of Civil War and Postwar can tightly evaluate the literary merits of the novel.

Photography, desire and resistance in the lives of women, following the 1979 revolution in Iran

In my last four years of PhD by practice at the Royal College of Art, I have conducted extensive research on archival photography including materials held at the Museum der Weltkulturen, Frankfurt am Main; the Institute for Iranian Contemporary Historical Studies (IICHS) , Tehran; and the International Institute of Social History (IISH), Amsterdam. My project started with the fortuitous encounter with a photograph taken by Iranian photographer Hengameh Golestan on the morning of March 8, 1979. The photograph shows women marching in the streets of Teheran in protest against the introduction of the compulsory Islamic dress code. In 1936 Reza Shah had decreed a ban on the headscarf as part oh his westernising project. Over forty years later following the 1979 Revolution, Ruhollah Khomeini reversed this decision by ordering that women should now cover their hair. This ‘found image’ presented me with a glimpse into the occulted history of my own country and the opportunity to advance towards a deeper learning and understanding of the event of March 8, 1979 a significant date in the history of feminism in Iran. In what follows I revisit the history of Iran since the 1979 revolution with a particular inflexion on the role women played in that history. However, as my project develops , I gradually move away from the socio-historical facts to investigate the legacy of the revolution on the representations of women in photography, film and literature as well as the creation of an imaginary space of self representation. To this end my writing moves constantly between the documentary, the analytical and the personal. In parallel I have made photographs and video works which are explorations of the veil as object of fascination and desire as well as symbol of repression.

Documentary Intersect

I started by collecting things in order to inform my work. What seems to have happened slowly is that the collections eventually became my work. – Patrick Pound The New Zealand-born, Melbourne-based artist Patrick Pound has had a long-term engagement with the work of Walker Evans, both as a writer and as a practicing artist. For his solo exhibition at the Adam Art Gallery, Pound developed an installation comprised of found images, taking his cue from Walker Evans’s practice of working with readymade printed matter which he published in magazines such as Fortune and Architectural Forum. While Pound’s collecting habits are voracious, he is also a great organiser. He is interested in typologies and arranges items according to shared content: ‘tears’, ‘floral clocks’, ‘crime scenes’, ‘sleepers’, and so on. Laying these out in linear sequences Pound discovers points of intersection to create complex grids of structured yet chaotic imagery. A Hollywood film still of a crime scene will sit eerily alongside an image of a real deceased subject sourced from an archive; or a set of postcards will show the same subject, shot by different photographers and describing both changing viewpoints and the passage of time. Pound has stated: ‘People make sense of the world through assembling, listing and categorising…meaning is to be found in the accumulation of [these] details.’