National Repository of Grey Literature 36 records found  1 - 10nextend  jump to record: Search took 0.01 seconds. 
The Aesthetic of the Crime Scene Photography: The Case of Arthur “Weegee” Fellig
Sharova, Taisiia ; ŠIMŮNEK, Michal (advisor) ; DVOŘÁK, Tomáš (referee)
The forensic photography has a great practical significance as it serves as one of the main means of capturing theinitial appearance of the crime scene and physical evidence of various objects that have evidentiary value in criminal cases. Photography as a means of permanent, authentic, accurate and objective record of the reality thus very often plays pivotal role during criminal investigations and court proceedings. For these purposes, crime scene photography has to follow particular set of conventionalised rules, techniques and methods. The present thesis aims to describe the crime scene visual rhetoric and explain how the crime scene photography aesthetic has been co-opted by photojournalism and art. The argumentation of the thesis is based mainly on the analysis of the 1930s and 1940s photographs taken by tabloid-news photographer Arthur “Weegee” Felling.
FOTOPUBES
Smodej, Josip ; DVOŘÁK, Tomáš (advisor) ; JANOŠČÍK, Václav (referee)
In my thesis I want to explore the Slovenian contemporary photographic art focusing on the youngest artists who have recently graduated art schools and have started developing a new strain of fine art photography in Slovenian artistic space. Slovenia, not having a photography programme on any of it's art academies until recently, was always under influence of countries where Slovenian photography artists have studied, that being mainly Czech Republic and Serbia in the 90s and mainly UK, Germany, The Netherlands or France nowadays - the difference in the aesthetical and generally artistic expression is obvious. While most of the countries in Eastern Europe have seemingly lost the connection with the contemporary fine art scene, especially on the photographic field in the time of the post-digital art, Slovenia has kept it or rather gained it through the influence of its artists mainly studying abroad in the most developed western countries and not in Slovenia itself. On the other hand, the Slovenian photography scene has encountered an enormous problem as the artists studying abroad do not return to their motherland after finishing their studies - a trend that has gained on influence and popularity mainly in the last five years and is now almost becoming normality. The question therefore is if those artists can be counted as Slovenian or not at all, as example Aleksandra Vajd, who is one of the most influential Slovenian photography artists and at the same time one of the first ones who stayed in the country of her studies.
Photographer and lecturer Jan Regal
Smilková, Karolína ; POSPĚCH, Tomáš (advisor) ; LEDVINA, Josef (referee)
The thesis focuses on the photographer and lecturer Jan Regal. In the theoretical section summarizes his life and work as a photographic and educational activities. Jan Regal scope is predominantly in the Zlin region, where he comes from. The intention of this work is not only biography, but also his work in the context in the times.
Sally Mann and David Hamilton. Comparison in the context of nymphet archetype and its photographic representations.
Sekta, Karol ; Vančát, Pavel (advisor) ; JANOŠČÍK, Václav (referee)
Thesis would be based on deep studies conducted on two photographers - Sally Mann and David Hamilton. The form of work is going to be a result of comparison of two creative paths which led artists to very the same effect (and provoke quite the same questions of perversity/legality/aesthetics/kitsch). Even if photographers acted in completely different intentions(presenting directly opposite approaches to art piece as such), still they have a lot in common. In result I would deposit this specific relation between two circles (represented strongly by two mentioned artists) on this quite specific dualism of motherhood-like and intimate approach of Sally Mann depictions contrary to David Hamilton's aggressive, straightly sexual way of photographing his young "subjects-objects".
Humor in contemporary photography
Novotná, Johana ; LEDVINA, Josef (advisor) ; ŠIMŮNEK, Michal (referee)
Subjective selection and categorization of works that try to analyze possible approaches of humor used in photographic work. Content of the work would be therefore a kind of photographic morphology of humor and was therefore based on an analysis of one particular material.
Google street view in comtemporary photography
Levitner, Šimon ; DVOŘÁK, Tomáš (advisor) ; JANOŠČÍK, Václav (referee)
Analysis of Google street view as a tool to view a world throught quite persuasive virtual reality which builds its belivevability on an impresion of extension of most used map. I examine possibilities of its use in artist practice on the example of three artists - Jon Rafman, Mishka Henner and Michael Wolf. I see as the objective of this thesis the comparasion of the approaches of indivual artists which would serve as a tool to better understanding how can we percieve GSV or where can we place it in the context of photography.
Ivan Kafka, Photography between documentation and art
Mertová, Alexandra ; JANOŠČÍK, Václav (advisor) ; LEDVINA, Josef (referee)
The thesis deals with photographic work of conceptual artist Ivan Kafka and questions regarding the thin line between technical documentation and its artistic quality. It focuses primarily on issues related to the documentation of art and presentation of  installa-tion records. Issues accompanying photographic documentation of art are presented using examples of specific works by Ivan Kafka and his approach from a technical and artistic point of view. The text is built around thematic interviews with the author Ivan Kafka, art photographer Martin Polák and art historian Pavlina Morgan. The purpose of  these interviews was to present a specification of Kafka's documentary approach  from different perspectives and point to the exceptional, as well as problematic aspects of his photographic work. Individual subject areas are developed considering the problematic questions concerning documentation of photography.
Role krajinářské fotografie při zakládání národních parků
Aslanidou, Georgia ; DVOŘÁK, Tomáš (advisor) ; SILVERIO, Robert (referee)
The first part of this paper examines the fundamental principles of landscape photography starting with the formation of landscape as a concept and a painting genre, up to landscape photography and its various identities as an art medium, a document, an imperialistic weapon, a tool of identification. The beginning of landscape photography is presented with special focus on mountain photography. The theme moves American West where the first National Park was born, an institution that can be both praised for bringing people closer to nature, and blamed for keeping people away from direct natural experience.

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