Professional discourse in winning images: objectivity and professional boundaries in environmental news images in the World Press Photo contest, 1992–2011

This article applies the ecological theory of professions to analyze professional discourse in the World Press Photo (WPP) contest, an international photojournalism contest held in Amsterdam, the Netherlands. The article analyzes the content of 148 photojournalism works that received environmental awards in the period 1992 to 2011, the two decades after the 1992 Earth Summit in Rio de Janeiro. The article seeks to understand the representation and negotiation of objectivity and the claims of professional boundaries by the media of both developed and developing countries as well as non-governmental organizations (NGOs). It also seeks to interpret the professional discourse of the WPP in relation to ideologies and power dynamics in both journalism and global environmental politics. The results suggested that the media of developed countries dominated the discourse, and the conventional notion of journalistic objectivity remained intact. However, the results also showed that global environmental politics and the situation of journalism created openings for the media of developing countries and NGOs to enlarge jurisdictional claims in the area of natural disaster reporting and to challenge the conventional notion of objectivity. The results also showed that the conventional notion of objectivity did not necessarily hinder explanations of the complexity of environmental issues, which was made possible by choosing unique angles of storytelling, planning multiple shots, and using richly suggestive, naturalistic images.     

浅谈新闻摄影中的抓拍

读图时代,抓拍正日益成为新闻摄影的主创原则,也成为广大摄影工作者为增加图片视觉冲击力的主要拍摄技法,对新闻摄影工作者与新闻报道事业有重要的价值。     

Hidden in Public View

This study analyzes the visual representations of women in Bulgaria from the 1950s to the 1980s, as depicted in photographs in the official daily newspaper of the communist party. The study is theoretically informed by feminist theories of media representations and engages specifically with Gaye Tuchman's idea of “symbolic annihilation,” which referred to Western media's condemnation, trivialization, and omission of women in public discourse. However, this analysis adapts Tuchman's theory to the specificities of socialist societies, where women's participation in public life was ideologically mandated. The authors propose the concept of “symbolic glorification” as a correlate to Tuchman's idea, and argue that symbolic glorification was a necessary part of ideological efforts to claim that women's participation in the labor force and political life was a sign of true emancipation. Nevertheless, the visual data reveal that certain aspects of femininity, related to motherhood and sexuality, were symbolically annihilated as a way to make female identities conform to ideological goals. The paper concludes by raising questions about the ways in which the ideologically constructed identities of women during socialism may impact on a feminist agenda after the end of the Cold War.     

小议新闻摄影在新闻报道中的地位和作用

新闻摄影具有新闻战线特殊兵种的独特优势,是新闻报道的重要一翼,是形象化的时代科学和纪实性的时代艺术,是党、国家和人民的耳目与喉舌。新闻摄影在新闻报道中具有重要的地位和作用。     

Minute Particulars of the Counter- Culture: Time,Life, and the Photo-poetics of Allen Ginsberg

Abstract

Recent exhibitions of Allen Ginsberg’s photographs, which feature 1950s snapshots of his fellow-Beats Jack Kerouac and William Burroughs, have been dismissed by some as marketing exercises for the Beat myth that promote their biocentric image. Ginsberg himself invited comparisons between his work and Robert Frank’s The Americans. However, a detailed material analysis of his work as a poet-photographer, paying close attention to his handwritten captions, recognises it as a complex hybrid that extends his prophetic poetics. In particular, contextualising his work in relation to the 1950s photojournalism of Life and Time establishes the ways in which Ginsberg, and Burroughs, responded to the attacks made on the Beats in those magazines on behalf of Henry Luce’s ‘American Century’.     

An interview with George Hallett

The distinguished South African photographer George Hallett speaks about his childhood, schooling, career in photography, exile in Europe and return to South Africa. Born in District Six and raised in Hout Bay, Hallett was introduced to the world of politics, literature and art by the novelist Richard Rive, who was his high school English teacher, and by the poet James Matthews and artist Peter Clarke, who became friends, as well as mentors. Hallett began his photographic career in Cape Town, but, struggling under the restrictions of life under apartheid, soon left for London. In Britain and, later, France and the Netherlands, he established himself as a leading photojournalist and fine art photographer. After brief stays in the United States and Zimbabwe, he returned to South Africa to photograph the 1994 elections for the African National Congress.