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Leena Holmström Pro Gradu.Pdf (3.162Mt)

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Leena Holmström Pro Gradu.Pdf (3.162Mt) KUVAAJATYYPIT TULKINNAN TYÖKALUINA The World Atlas of Street Photography -teoksen sata projektia Sisältää taiteellisen osion Pro gradu -tutkielma Leena Holmström Taiteiden tiedekunta Audiovisuaalinen mediakulttuuri Lapin yliopisto 2018 Lapin yliopisto, taiteiden tiedekunta Työn nimi: Kuvaajatyypit tulkinnan työkaluina. The World Atlas of Street Photography -teoksen sata projektia. Sisältää taiteellisen osion. Tekijä: Leena Holmström Koulutusohjelma: Audiovisuaalinen mediakulttuuri Työn laji: Pro gradu -tutkielma Sivumäärä: 97 + 4 liitesivua Vuosi: 2018 Tiivistelmä Tutkin pro gradu -työssäni katuvalokuvauksen genreen sijoittuvien nykytaiteilijoiden ku- vausmenetelmiä. Aineistona on sata valokuvaprojektia, jotka on esitelty The World Atlas of Street Photography -teoksessa (Jackie Higgins, 2014.) Tutkimukseni pääkysymys on: Millaisia kuvaajatyyppejä aineistoon sisältyy, kun tarkastelen nykykuvaajien kuvausme- netelmiä klassisen katuvalokuvauksen viitekehyksessä? Katuvalokuvauksen periaatteet pohjautuvat erityisesti Henri Cartier-Bressonin 1950-luvulla valokuvauksesta julkaise- miin ohjeisiin, joissa keskeistä on suora havainnointi ja sattuman merkittävä osuus. Tyypittelin aineiston kahteen pääluokkaan, sivustakatsojiin ja ohjaajakuvaajiin. Tyypitte- lyn perusteena oli kuvaajan puuttuminen tai puuttumattomuus kuvaustilanteeseen. Sivus- takatsojat jaoin alaluokkiin: flanöörit, semiohjaajat ja tutkija-keräilijät. Ohjaajakuvaajat olivat vastaavasti: kohtauksen rakentajat, henkilökuvien ohjaajat, lavastajat, efektiiviset valaisijat ja yhdistelmäkuvaajat. Pohdin kuvien heijastamaa todellisuutta ja tulkitsin me- netelmissä ilmeneviä moderneja ja postmoderneja piirteitä. Toteutin tätä tutkimusta varten taiteellisena sovelluksena katuvalokuvausprojektin, jos- sa reflektoin omaa toimintaani suhteessa edellä esittämiini kuvaajatyyppeihin. Typolo- gisointi oli mielestäni mielekäs myös oman työni kuvausmenetelmien erittelyssä. Ku- vasarja syntyi sekä sivustakatsojana että ohjaajakuvaajana toimien. Lopulliset teokset rakentuivat postmoderneiksi kollaaseiksi, joita saatoin tarkastella myös abstraktin kuvan syntyprosessina. Tutkimuksen tuloksena syntynyt tyypittely syvensi tulkintaa ja kasvatti valokuvien medialukutaitoa, kuten sovellusosan valokuvaprojekti osoittaa. Taiteellinen osio on laajuudeltaan noin kolmannes koko tutkielmasta. Avainsanat: Valokuvaus, valokuvataide, mediakasvatus, medialukutaito, abstrakti taide Muita tietoja: Suostun tutkielman luovuttamiseen kirjastossa käytettäväksi X Suostun tutkielman luovuttamiseen Lapin maakuntakirjastossa käytettäväksi X (vain Lappia koskevat) University of Lapland, Faculty of Art and Design The title of the pro gradu thesis: Photographer types as a tool of interpretation. Hundred projects in the The World Atlas of Street Photography. Includes an artistic part. Author: Leena Holmström Degree programme: Audiovisual media cultur The type of the work: Pro gradu thesis Number of pages: 97 + 4 attachment pages Year: 2018 Summary In my pro gradu thesis I study the methods of contemporary photographers, which belong to the genre of the street photography. As the subject matter of the study there are hundred photo projects presented in The World Atlas of Street Photography (Jackie Higgins 2014). The main question of my study is: What kinds of types of photographers are included in the subject matter, when I examine the methods of contemporary photographers in the context of the classical street photography? The principals of the street photography are based especially on Henry Cartier-Bresson’s instructions of the street photography pub- lished in the 1950’s, in which a direct perception and a significant amount of coincidence are central. I divided the subject matter into two main categories: bystanders and director photogra- phers. As the basis of the categorisation there was either the photographer’s interferen- ce, or the photographer’s non-interference in the photographing situation. I then divided the bystanders into subcategories: flaneurs, semi directors and scientific classifiers. The director photographers were similarly divided into subcategories: performance photo- graphers, interactive portrait directors, scenographers, effective illuminators and combi- nation photographers. I discussed the reality reflected by the photos and interpreted the modern and postmodern traits manifesting in the methods. For the study I executed an artistic photography project in which I reflected my own acti- vity in regard to the types of photographers presented above. I think that the typology was a meaningful way in analysing the methods of my own work as well. The photo series was born both as a bystander and as a director photographer. The final pieces were composed into postmodern collages, which I was able to view also as a creation process of an abst- ract picture. The typology that was resulted in the study deepens the interpretation and enhances the media literacy of photographs, as the photo project in the application part of my study also suggests. The artistic part is about one-third of the hole thesis. Keywords: Photography, art photography, media education, media literacy, abstract art Further information: I give a permission the pro gradu thesis to be read in the Library X I give a permission the pro gradu thesis to be read in the Provincial Library of Lapland X (only those concerning Lapland) SISÄLTÖ 1 JOHDANTO ....................................................................................................5 2 PERINTEISEN KATUVALOKUVAUKSEN GENRE ...........................................9 2.1 Genre eli lajityyppi valokuvatutkimuksessa ................................................ 9 2.2 Modernin katuvalokuvauksen historia ....................................................... 10 2.2.1 Henri Cartier-Bresson ja ratkaiseva hetki ........................................ 15 2.2.2 Joel Meyerowitz ja rajaamisen voima ............................................. 20 2.3 Dokumentaarinen valokuva ....................................................................... 22 2.4 Postmodernin valokuvan piirteitä .............................................................. 25 3 TUTKIMUKSEN TOTEUTUS .........................................................................28 3.1 Tutkimuskysymys ja aineisto ..................................................................... 28 3.2 Praktinen tiedonintressi ja fenomenologinen näkökulma .......................... 29 3.3 Luokitteleva sisällönanalyysi ja tyyppianalyysi ......................................... 31 4 SIVUSTAKATSOJAT ......................................................................................36 4.1 Flanööri ...................................................................................................... 37 4.2 Semiohjaaja ............................................................................................... 42 4.3 Tutkija-keräilijä .......................................................................................... 47 5 OHJAAJAKUVAAJAT ....................................................................................54 5.1 Kohtauksen rakentaja ................................................................................ 55 5.2 Henkilökuvien ohjaaja ............................................................................... 61 5.3 Lavastaja ................................................................................................... 66 5.4 Efektiivinen valaisija .................................................................................. 69 5.5 Yhdistelmäkuvaaja ..................................................................................... 74 6 MODERNI LÄHESTYMISTAPA .....................................................................79 7 POSTMODERNI LÄHESTYMISTAPA ............................................................81 8 POHDINTAA .................................................................................................86 LÄHTEET ......................................................................................................92 LIITTEET ............................................................................................................. 97 Liite 1. Teoksia sarjasta Merkityksettömiä hetkiä Liite 2. Analyysitaulukko ja kuvaajatyypit 5 1 JOHDANTO Kiinnostukseni katuvalokuvaukseen syttyi Pariisissa järjestetyn katuvalokuvauksen in- tensiivikoulutuksen ja Paris Photo -messujen aikana syksyllä 2016. Matka Pariisiin toi- mi lopullisena sysäyksenä tutkimusaiheeni valintaan. Kiersimme lukuisissa näyttelyissä, joista itseäni kiinnosti erityisesti konstruktiivinen yhteisnäyttely Topographie de l`art. Tämä näyttely sisälsi monia jännittäviä kuvia, joita katsoessa mietimme, miten ne on tehty, mikä on ollut kuvaajan intentio, mitä hän haluaa kuvalla kertoa tai kommentoida. Miten tulkita kuvaa ja varsinkin taidevalokuvaa kriittisesti, kun kuvaa katsoessa ei aina voi tietää onko kuva suora valokuva vai kokonaan rakennettu esitys? Kuvan tulkintaan vaikuttaa tieto siitä, miten kuva on syntynyt, kuvaajan intentio, taidemaailman määrit- tämä positio ja tulkitsijan oma tausta. Taiteilijan tausta ja merkityksiin liittyvä konteksti sisältyy usein näyttelyteksteihin. Etsiessäni katuvalokuvauksen genreen liittyvää kirjallisuutta, löysin laajan nykykatuva- lokuvausta esittelevän teoksen, The World Atlas of Street Photographyn (josta käytän jatkossa nimeä Atlas), joka sisälsi laajan kirjon kuvaamisen menetelmiä. Sitä selaillessani huomasin löytäneeni tutkimusaiheen lisäksi myös aineiston
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