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The invisible and the ideology in photography (XX century)
Title statement The invisible and the ideology in photography (XX century) / Alexandr Bondar Additional Variant Titles Neviditelné ve fotografii. Medium a ideologie Personal name Bondar, Alexandr, (dissertant) Phys.des. 31 listů : ilustrace + 1 CD Note Vedoucí práce Zdena Kolečková. Název a text práce v anglickém jazyce Abstract The aim of the diploma thesis is to analyze and describe modes of ideology functioning inside photography and vice versa, and especially in case of 'artistic' documentary photography, in the style and tradition of 'subjective documentary' or 'snapshot aesthetics'. The analysis is focused on the ways how images, documentary by their nature and non-political on the first glance, pictures of everyday natural surroundings, that have a noticeable touch of formalism, with pronounced composition in terms of line, light and color, are localized and/or grounded in ideology and (bio-)politics. The secondary purpose of the paper is to analyze the authors own practice in context of the tradition and to clarify the ways and modes for the ideology to function in it. A deeper look at the strategies of structuring and sequencing of images is attempted, considering the notions of visible and invisible. Notions of visible and invisible and their relation to photography and Ideology are expanded, based on the texts by Vilem Flusser and Boris Groys. Through the works by Groys the connection between art and documentation is described, and a closer look is taken on the strategies that some of artists, who work with documentary photography, use to localize themselves against ideology. The aim of the diploma thesis is to analyze and describe modes of ideology functioning inside photography and vice versa, and especially in case of 'artistic' documentary photography, in the style and tradition of 'subjective documentary' or 'snapshot aesthetics'. The analysis is focused on the ways how images, documentary by their nature and non-political on the first glance, pictures of everyday natural surroundings, that have a noticeable touch of formalism, with pronounced composition in terms of line, light and color, are localized and/or grounded in ideology and (bio-)politics. The secondary purpose of the paper is to analyze the authors own practice in context of the tradition and to clarify the ways and modes for the ideology to function in it. A deeper look at the strategies of structuring and sequencing of images is attempted, considering the notions of visible and invisible. Notions of visible and invisible and their relation to photography and Ideology are expanded, based on the texts by Vilem Flusser and Boris Groys. Through the works by Groys the connection between art and documentation is described, and a closer look is taken on the strategies that some of artists, who work with documentary photography, use to localize themselves against ideology. Another responsib. Kolečková, Zdena, 1969- (thesis advisor) Another responsib. Univerzita J.E. Purkyně v Ústí nad Labem. Ateliér fotografie (degree grantor) Subj. Headings umělecká fotografie Subj. Headings photography * ideology * invisible * technical * image * documentary Form, Genre diplomové práce Conspect 77 - Fotografie. Fotografické postupy UDC 77.04 * (043)378.2 Country Česko Language angličtina URL https://portal.ujep.cz/StagPortletsJSR168/CleanUrl?urlid=prohlizeni-prace-detail&praceIdno=00178575 Document kind Diploma theses 
Call number Barcode Sublocation Volný výběr Info DA 8938 3300708938 sklad C In-Library Use Only
Number of the records: 1