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      21세기 전쟁 뉴스 사진에 나타나는 시각적 구성 요소에 대한 융합적 연구 - 퓰리처상 뉴스상 수상작 중심으로 = Integrated Study of Visual Components in 21st Century War News Photographs - Focusing on the Pulitzer Prize News Award Winners

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      https://www.riss.kr/link?id=A108944532

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      다국어 초록 (Multilingual Abstract) kakao i 다국어 번역

      With the rise of digital technology in contemporary society, war photography created using advanced techniques is generally presented in a more intuitive and impactful form, capturing the audience's attention and prompting reflection and contemplation on war. This study initiates an exploration into 21st-century war-related photographs, focusing on Pulitzer Prize-winning works, recognized as the epitome of prestige in the current U.S. press. With the aim of understanding the visual components present in these war news photographs, the research is grounded in the visual frame model proposed by Rodriguez and Dimitrova.
      The objective is to conduct a comprehensive analysis of the extracted war news photos, deciphering the characteristics of the visual elements depicted in the images, and engaging in an integrated discussion regarding the conscious forms adopted by photographers.
      As a result, the main findings of this study are as follows: Firstly, the characteristics of the visual elements in 21st-century war photos primarily depict the realities of war in a concrete and vivid manner.
      Moreover, these images emphasize specific elements to maximize the cruelty and negative impact of war, making them particularly striking. Secondly, the conscious forms that war photographers aimed to convey through their images mainly induced fear and sympathy among the public towards war, ultimately fostering opposition to war and a longing for peace. This research is expected to provide a more comprehensive and in-depth understanding of the field of war photography, contributing to the development and advancement of this area.
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      With the rise of digital technology in contemporary society, war photography created using advanced techniques is generally presented in a more intuitive and impactful form, capturing the audience's attention and prompting reflection and contemplation...

      With the rise of digital technology in contemporary society, war photography created using advanced techniques is generally presented in a more intuitive and impactful form, capturing the audience's attention and prompting reflection and contemplation on war. This study initiates an exploration into 21st-century war-related photographs, focusing on Pulitzer Prize-winning works, recognized as the epitome of prestige in the current U.S. press. With the aim of understanding the visual components present in these war news photographs, the research is grounded in the visual frame model proposed by Rodriguez and Dimitrova.
      The objective is to conduct a comprehensive analysis of the extracted war news photos, deciphering the characteristics of the visual elements depicted in the images, and engaging in an integrated discussion regarding the conscious forms adopted by photographers.
      As a result, the main findings of this study are as follows: Firstly, the characteristics of the visual elements in 21st-century war photos primarily depict the realities of war in a concrete and vivid manner.
      Moreover, these images emphasize specific elements to maximize the cruelty and negative impact of war, making them particularly striking. Secondly, the conscious forms that war photographers aimed to convey through their images mainly induced fear and sympathy among the public towards war, ultimately fostering opposition to war and a longing for peace. This research is expected to provide a more comprehensive and in-depth understanding of the field of war photography, contributing to the development and advancement of this area.

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      참고문헌 (Reference)

      1 "https://www.sohu.com/a/646725366_120844404"

      2 "https://www.pulitzer.org/winners/todd-heisler"

      3 "https://www.pulitzer.org/winners/staff-60"

      4 "https://www.pulitzer.org/winners/photography–staff-associated-press-0"

      5 "https://www.pulitzer.org/winners/photography -staff-reuters-1"

      6 "https://www.pulitzer.org/winners/photography -staff-reuters-0"

      7 "https://www.pulitzer.org/winners/mauricio-lima-serg ey-ponomarev-tyler-hicks-and-daniel-et ter"

      8 "https://www.pulitzer.org/winners/marcus-yam-los-an geles-times"

      9 "https://www.pulitzer.org/winners/lorenzo-tugn oli-washington-post"

      10 "https://www.pulitzer.org/winners/javier-manz ano"

      1 "https://www.sohu.com/a/646725366_120844404"

      2 "https://www.pulitzer.org/winners/todd-heisler"

      3 "https://www.pulitzer.org/winners/staff-60"

      4 "https://www.pulitzer.org/winners/photography–staff-associated-press-0"

      5 "https://www.pulitzer.org/winners/photography -staff-reuters-1"

      6 "https://www.pulitzer.org/winners/photography -staff-reuters-0"

      7 "https://www.pulitzer.org/winners/mauricio-lima-serg ey-ponomarev-tyler-hicks-and-daniel-et ter"

      8 "https://www.pulitzer.org/winners/marcus-yam-los-an geles-times"

      9 "https://www.pulitzer.org/winners/lorenzo-tugn oli-washington-post"

      10 "https://www.pulitzer.org/winners/javier-manz ano"

      11 "https://www.pulitzer.org/winners/david-leeson-and-c heryl-diaz-meyer"

      12 "https://www.163.com/dy/article/E4N6QRKN053663P7.html"

      13 "https://baike.baidu.com/item/%E7%BE%A4%E4%BD %93%E8%A7%84%E6%A8%A1/6570466"

      14 "https://baike.baidu.com/item/%E7%9C%9F%E5%AE%9E%E6%80%A7/6345696"

      15 "https://baike.baidu.com/item/%E6%96%B0%E5%B9%B 4%E9%BE%84%E5%88%86%E6%AE%B5/4231762"

      16 Allbeson, T., "War, Photography, Business : New Critical Histories" 9 (9): 94-114, 2016

      17 Robin Gerster, "War by Photography : Shooting Japanese in Australia’s Pacific War" 40 (40): 432-452, 2016

      18 Alisa Sopona, "Visuals and the Invisible in the ‘Forgotten’ War in Ukraine : Combating Clichés of War Photography Through Social Media, Studies in Russion" 21 : 65-83, 2021

      19 INNA JERMAKOWA, "Visualization as a tool for manipulation in contemporary informa tion-hybrid warfare. The story of a single photograph-"Ceasefire in Shyrokyne" Vasyl Stus National University of Donetsk in Vinnytsia 2016

      20 Rodriguez, L., "Visual Framing : Diversifying the Inquiry" 96 (96): 22-23, 2019

      21 Huang Shunming, "Two Dimensions of the Relationship Between Media and War" The National Centre for Communication Innovation Studies, Communication University of China 2003

      22 Alena Lábová, "Twilight of Photo Journalism ? Photo manipulation in the digital age" Karolinum 135-, 2009

      23 H. Mowlana, "Triumph of the Image: The Media War in the Persian Gulf. A Global Perspective" Westview Press 1992

      24 Roy Peter Clark, "The Pyramid of Journalism Competence : what journalists need to know" Roprting & Editing 2-4, 2014

      25 Domke, D., "The Primes of Our Times? An Examination of the Power of Visual Image" 3 (3): 59-131, 2002

      26 Jaime A., "The Potentially Misleading Nature of the Use of Stock Photos in News" 1-17, 2023

      27 Robert E., "The Media and the Persian Gulf War" Praeger 235-256, 1993

      28 Lulu Rodriguez., "The Levels of Visual Framing" 30 (30): 48-65, 2011

      29 Paul D'Angelo, "The International Encycolpedia of Media Diffects(IV)" Wiley 1-12, 2017

      30 Eva Jonisová, "The Importance and Consequences of War Photography" (12) : 75-76, 2022

      31 Busst, N., "Telling Stories to a Different Beat:Photojournalism as, a Way of Life" Bond University 2012

      32 Yavuz., Ugur Gunay, "Savaş Fotoğrafı Tarihinde Dijitalleşme Süreci Ve Fotografik Etkisi Ugur Ginay" 80-86, 2012

      33 Du Hong-yan, "Research on the Development of Mobile Photography and Its Impact on New Media" (21) : 109-110, 2021

      34 Jabbour, S., "Rehumanising the Syrian Conflict : Photographs of War, Health, and Life in Syria" 391 (391): 1140-1156, 2018

      35 Sontag, S., "Regarding the Pain of Others" Farrar, Strus and Giroux 1-126, 2003

      36 Frank Möller, "Puliched in The Paltrve Encylopedia of Peace and Cnflict Studies" 2-4, 2019

      37 Bresheeth, H., "Projecting Trauma. War Photography and the Public Sphere" 20 (20): 57-71, 2006

      38 Griffifin, M., "Picturing the Gulf War : Constructing an Image of War in Time, Newsweek, and US News and World Report" 72 (72): 83-85, 1995

      39 Perlmutter, D., "Photojournalism and Foreign Policy : Framing Icons of Outrage in International Crisis" Greenwood 1998

      40 Yang Jun, "On the Application of Scenery and Angle in Animation Short Films" Jilin Academy of Arts 2018

      41 Yang Jun, "On the Application of Scenery and Angle in Animation Short Films" Jilin Academy of Arts 2018

      42 Jiang Zhen-yu, "Micro expressions : How to Recognize the Authenticity of Others' Faces? [M]" Changjiang Literature and Art Publishing House 2016

      43 Mohsen Tavakol, "Making sense of Cronbach's alpha" (2) : 53-55, 2011

      44 Reese SD., "Framing Public Life : Perspectives on Media and Our Understanding of the Social World" Lawrence Erlbaum 215-226, 2001

      45 Yurif Setya Darmawan, "Foto Anak-Anak dalam Bingkai Tragedi Kemanusiaan; Studii Struktur Visual Foto Pemenang World Press Photography 1997 & 2019" 1 (1): 16-20, 2023

      46 Brantner C., "Effects of Visual Framing on Emotional Response and Evaluations of News Stories about the Gaza Conflict 2009" (88) : 525-, 2011

      47 Jenni Mäenpää, "Distributing Ethics : Filtering Images of Death at Three News Photo Desks" 2230-2248, 2022

      48 Pavlina Vogelov, "Czech Interwar Photo-graphy between Art, Society and Politics" 7 (7): 105-124, 2018

      49 Fahmy S., "Contrasting Visual Frames of Our times : A Framing Analysis of English and Ara Biclanguage Press Coverage of War and Terrorism" (72) : 695-717, 2010

      50 Dai Can-Jin, "Aesthetic Research on the Winning Works of the Pulitzer 'Sudden News Photography Award'(2014-2018)" Chang'an University 2023

      51 Harris, R., "'Anonymity : War Photography', Photography and Death : Framing Death throughout History(Emerald Studies in Death and Culture)" Emerald Publishing Limited 41-62, 2020

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