Neviditelné ve fotografii.\nl{} Medium a ideologie.

Bc. Alexandr BONDAR

Master's thesis

Invisible in Photography. Medium and Ideology.

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.

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.

Keywords

photography, ideology, invisible, technical, image, documentary

Language used: Czech

Date on which the thesis was submitted / produced: 23. 5. 2017

Thesis defence

• Supervisor: doc. Mgr. Zdena Kolečková, Ph.D.

JAN EVANGELISTA PURKYNĚ UNIVERSITY IN ÚSTÍ NAD LABEM

Faculty of Art and Design

Master programme / field:
Fine Art / Photography and Time-Based Media