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The story and narratives it presented contributed to challenging the political party ruling the country in reality, and it reinforced suspicions about media manipulation leading to distortion of historical and/or recent political facts.
Put differently, it would be reasonable to conclude that played a major civic role in Mexico’s 2000 election by inserting itself as an actor in the public debate and blurring the lines of public and private media?
Webcams as Emerging Cinematic Medium, Paula Albuquerque I intend to present a paper based upon the third chapter of my current Ph. dissertation, which focuses on Webcams as Emerging Cinematic Medium.
In doing so, I will start by approaching Baudry’s (classical) model of the cinematographic apparatus and separating it from the Webcams.
Secondly, I will focus on highlighting their differences, departing from the technical specificities of the Webcams as medium: how the camera’s produce goes directly to the observer; why the screen has become the viewfinder of the camera; the ways in which the set is the city plateau (built for the camera but pretending to constitute the “reality” of the urban space); how the non-actors actually act the part (invisible roles played by people in urban spaces); how spectatorship has deeply changed; and, finally, the possibility that authorship might be equated with ownership.
The text will be accompanied by images taken from my own work as artist – films made with footage from Webcams.
War on Instagram: Framing Conflict Photojournalism with Mobile Photography Apps, Meryl Alper This paper examines recent acclaim for professional embedded photojournalists who visually document the experience of US soldiers in Afghanistan using popular mobile photo application Hipstamatic.
These photos have stirred controversy among fellow journalists and cultural critics regarding the use of photo filters in Hipstamatic and similar app Instagram, their contribution to the de-professionalization of photojournalism, and the depiction of war as stylishly vintage.
The debates about Hipstamatic and Instagram in war photography opens up a whole series of enduring questions about distinctions between photography and illustration, professional and amateur, and reporting and editorializing.
Considering the shifting nature of digital photography, photojournalism, and specifically war photojournalism, I argue that the current discourse about the use of mobile apps overlooks another important ethical issue: non-soldiers mimicking the imagined hand of the modern smartphone-equipped US soldier.
Documentary Photography, Semiotic Objectification, and the Limits of Critical Reading, Lindsey Andrews By the 1930s and ‘40s, documentary photography — and especially the photo-text, or image accompanied by testifying narrative — had become crucial a means for advancing political projects within the US, from New Deal reforms to black freedom struggles.
The accompanying texts were often used to marshal affective responses to the photos, but they also had the added effect — when paired with the repeated conventions of mid-century documentary photographs — of suggesting that the photos themselves were semantic phenomena, capable of being read for coded ideological meaning.