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Sandra Gavard
Graduate Program in Communications
McGill University
Montreal, Quebec
June, 1999
A thesis submitted to the
Faculty of Graduate Studies and Research
in partial fulfillment of the requirements of
the degree of Masters of Arts
© 1999 Sandra Gavard
Abstract
For 150 years, chemical photography had a privileged status as
a truthful means of representation. The emerging technology of
digital imaging is challenging this unique position. This paper
proposes to examine the status of the photographic image in the
digital age, as well as the debate surrounding the new technology
and its implications. Chapter one begins with a brief technical
history of the medium and establishes the construction behind
the myth of photographic truth. Chapter two debunks the myth of
photographic image's objectivity. Chapter three describes the
specifities of digital imaging technology and discusses the potential
problems and consequences of the invasion of digitally enhanced
images in the media, as well as possible solutions. Finally, the
fourth chapter considers the use of digital imaging in women's
magazines and examines what such a use says about our society's
values. By considering the issue of photo-manipulation, one can
understand that manipulation expresses the human will to create
a world of simulation. |
Sommaire
Pendant plus de 150 ans, la photographie a été
perçue comme un système de représentation
objectif. L'apparition de nouvelles technologies de traitement
de l'image remet en cause cette vision. Ce mémoire propose
d'examiner le status de l'image argentique a l'ère digitale
ainsi que les conséquences de ces nouvelles technologies.
Le premier chapitre commence avec un bref historique de la photographie,
puis énonce les conditions qui ont construit le mythe de
l'objectivité de la photographie. Le second chapitre déconstruit
ce mythe. Le troisième chapitre décrit les spécifités
de l'image digitale et propose une réflexion sur les problèmes
soulevés par l'irruption des images virtuelles, fabriquées
a l'aide d'ordinateurs, dans les médias. Finalement, le
quatrième chapitre examine l'utilisation du digital dans
les magazines féminins et tente de déterminer ce
qu'une telle utilisation nous apprend sur les valeurs de notre
société. L'étude de la photomanipulation
permet de comprendre que toute manipulation exprime la volonté
de créer un monde simulé. |
Acknowledgement
Many people supported me during the completion of this thesis with
criticism, helpful assistance and references. This thesis would have
never been possible without them. I would like to first thank Berkeley
Kaite for her guidance and encouragement. She was a wonderful supervisor
whose assistance and motivation were greatly appreciated.
My "friend-and-roommate" Skeye for her inspirational and
moral support, her editorial help, and for being who she is.
My sisters Johanna Gavard and Karen Gavard. My friends Fred Louvet,
Zvonimir Vidovic, Eric Nayman, Gilles Portenseigne, Katerina Smalkova,
Mirko Vidovic, Natasha Yakovleva, Antonin Herbeck, and especially Yanick
Maufrand for printing my numerous drafts and helping me to scan the
illustrations of this thesis.
Thanks also to the GPC — especially to Lise Ouimet for her administrative
help and efficiency and to Charles Levin for introducing me to the theories
of Jean Baudrillard — and to the staff of the McLennan and Blackader-Lauterman
libraries for renewing my books over and over again.
Last but certainly not least, I would like to show my gratitude to
my parents Jean and Hana Gavard, who have been generous with their encouragement
thoughout. This thesis is dedicated to them.
Table of contents
Abstract
Acknowledgement
Introduction
CHAPTER 1 — The myth of photographic truth
CHAPTER 2 — Dismantling the "truth"
effect of the photographic image
CHAPTER 3 — Photography in the digital age
CHAPTER 4 — Culture of manipulation
Conclusion
List of illustrations
Bibliography
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