東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

The rhetoric of visual aesthetics: I...

Kim, Daniel Hyunjae.

FindBook

Google Book

Amazon

博客來

The rhetoric of visual aesthetics: Image, convention, and form in new media.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The rhetoric of visual aesthetics: Image, convention, and form in new media./
作者:	Kim, Daniel Hyunjae.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2016,
面頁冊數:	228 p.
附註:	Source: Dissertation Abstracts International, Volume: 77-10(E), Section: A.
Contained By:	Dissertation Abstracts International77-10A(E).
標題:	Communication. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10108824
ISBN:	9781339721583

The rhetoric of visual aesthetics: Image, convention, and form in new media.
Kim, Daniel Hyunjae.

The rhetoric of visual aesthetics: Image, convention, and form in new media. - Ann Arbor : ProQuest Dissertations & Theses, 2016 - 228 p.

Source: Dissertation Abstracts International, Volume: 77-10(E), Section: A.

Thesis (Ph.D.)--University of Colorado at Boulder, 2016.

Across multiple contexts within photography's relatively brief history as a medium of 'light inscription,' a ubiquitous relationship pairing photographer with subject has dominated a common understanding of the art (techne). This pairing, across time, consistently demonstrates a dominant and linear perspective, wherein the former (photographer) works to "capture" the latter (the subject), toward the production of an image---whether inscribed on print media of the traditional darkroom, or through the bright screens of our contemporary mobile devices. This dissertation examines this linear relationship, and in particular, what new potential may emerge when photography is considered apart from it. That is, how might both professional and everyday photographers consider the art (and/or craft) as a set of social relationships---rather than a linear production? As such, I conduct a rhetorical inquiry into a variety of case studies. These range from Annie Leibowitz's photographing of high fashion models alongside real-life first responders in Vogue, to the less visible, affective, and often devastating human consequences of chasing the prestigious Pulitzer Prize, to the influence and power wielded by conventional photographic aesthetics within the coverage of a post-disaster event. My findings suggest that photography yields surprising rhetorical power when considered apart from its traditional understanding as a technology of image capture. By analyzing the aesthetics of public images and the leveraging of photographic conventions, my research highlights both the power and limitations that an ostensibly neutral technology overlooks when photography is understood as an unproblematic production which can only yield images. Rather, I argue that photography is better understood as processual in character, and relational in scope. Far from a static technology, my cases demonstrate that photography is made and remade, and brings the potential to expand its influence and power when social and public concerns become inclusive to its definition. These insights may help visual publics to move beyond normative views of photography as an endeavor initiated and terminated in the image of its maker. Rather, I contend a relational photography---what I refer to as a photographic act---catalyzes a process of connective, social invention and renewal.

ISBN: 9781339721583Subjects--Topical Terms:

524709
Communication.

The rhetoric of visual aesthetics: Image, convention, and form in new media.
LDR:03290nmm a2200289 4500 001 2119893
005 20170627090652.5
008 180830s2016 ||||||||||||||||| ||eng d
020 $a 9781339721583
035 $a (MiAaPQ)AAI10108824
035 $a AAI10108824
040 $a MiAaPQ $c MiAaPQ
100 1 $a Kim, Daniel Hyunjae. $3 3281793
245 1 4 $a The rhetoric of visual aesthetics: Image, convention, and form in new media.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2016
300 $a 228 p.
500 $a Source: Dissertation Abstracts International, Volume: 77-10(E), Section: A.
500 $a Adviser: John M. Ackerman.
502 $a Thesis (Ph.D.)--University of Colorado at Boulder, 2016.
520 $a Across multiple contexts within photography's relatively brief history as a medium of 'light inscription,' a ubiquitous relationship pairing photographer with subject has dominated a common understanding of the art (techne). This pairing, across time, consistently demonstrates a dominant and linear perspective, wherein the former (photographer) works to "capture" the latter (the subject), toward the production of an image---whether inscribed on print media of the traditional darkroom, or through the bright screens of our contemporary mobile devices. This dissertation examines this linear relationship, and in particular, what new potential may emerge when photography is considered apart from it. That is, how might both professional and everyday photographers consider the art (and/or craft) as a set of social relationships---rather than a linear production? As such, I conduct a rhetorical inquiry into a variety of case studies. These range from Annie Leibowitz's photographing of high fashion models alongside real-life first responders in Vogue, to the less visible, affective, and often devastating human consequences of chasing the prestigious Pulitzer Prize, to the influence and power wielded by conventional photographic aesthetics within the coverage of a post-disaster event. My findings suggest that photography yields surprising rhetorical power when considered apart from its traditional understanding as a technology of image capture. By analyzing the aesthetics of public images and the leveraging of photographic conventions, my research highlights both the power and limitations that an ostensibly neutral technology overlooks when photography is understood as an unproblematic production which can only yield images. Rather, I argue that photography is better understood as processual in character, and relational in scope. Far from a static technology, my cases demonstrate that photography is made and remade, and brings the potential to expand its influence and power when social and public concerns become inclusive to its definition. These insights may help visual publics to move beyond normative views of photography as an endeavor initiated and terminated in the image of its maker. Rather, I contend a relational photography---what I refer to as a photographic act---catalyzes a process of connective, social invention and renewal.
590 $a School code: 0051.
650 4 $a Communication. $3 524709
650 4 $a Rhetoric. $3 516647
690 $a 0459
690 $a 0681
710 2 $a University of Colorado at Boulder. $b Communication. $3 1043819
773 0 $t Dissertation Abstracts International $g 77-10A(E).
790 $a 0051
791 $a Ph.D.
792 $a 2016
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10108824