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    The iconic news image as visual event in photojournalism and digital media : a thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in Media Studies at Massey University, Manawatu, New Zealand
    (Massey University, 2013) Kelly, Samantha Diane
    This thesis shows how the uses and meanings of the iconic news image have changed with the emergence of digital media. Most of the iconic photographs of the twentieth century were produced by photojournalists and published in mass circulation newspapers and magazines. In the twenty–first century, amateurs have greater access to image producing technologies and greater capacity to disseminate their images through the Internet. This situation has made possible the use of iconic news images to support political agendas other than those promoted in the media institutions and beyond the range of censorship imposed by those media. In order to demonstrate the functions and understand this unprecedented situation, this thesis explores how iconic news images produce meaning. I consider formal definitions of iconic news images but adopt Nicholas Mirzoeff's theory of the visual event to explain how the meanings of iconic news images are impacted by historical context, media institutions and viewer responses. This dynamic model of visual communication allows us to see that iconic news images indeed function as events and that there is a political struggle over the creation, staging, publication and interpretation of those events. The thesis develops this argument by analysing a series of historical examples. The images range from the iconic news images of World War II used in the official propaganda for the war effort, through the combination of amateur and professional images used in the 9/11 visual canon, to the activist images of the ongoing Syrian Civil War. The significance of 9/11 is that although some images produced by amateurs did become iconic (for example Holocaust photographs or from the Kennedy assassination) it was not until the 9/11 attacks that the amateur production of the image began to be directly assimilated into mass media. What this means is that the media institutions are no longer the sole arbitrators of the images that represent world events. Instead, using digital media, anyone including the media institutions, activists, military and terrorists create events that are so powerful in their traumatic impact, that they have to be published. Protest and terrorist movements have long understood that their impact depends on media coverage. Now images themselves can be more directly mobilised through digital media to reach viewers. They no longer require the media institutions or their resources.
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    Pictures of the body : painting as praxis : a thesis presented in partial fulfilment of the requirements for the degree of PhD, Fine Arts, Massey University, Wellington
    (Massey University, 2011) Melser, Paul; Melser, Paul
    This thesis uses the painting / photography nexus to investigate painting’s viability as a decisive means of activating reflexivity and interpretation. The artwork tests painting’s agency by presenting simplified abstracted paintings which critique selected news media images documenting conflict between the citizenry and institutional authorities. The paintings thwart the resort to the normalised (non)-understanding engendered by the ubiquity and information excess of the news photograph. They invite the viewer instead to fill out and resolve the incomplete figuration through ‘experiencing’ the narratives pictured. In this way the audience can interpret and expand on the minimal information contained within the paintings by extrapolating from their own experience. This reduces the need to employ the restrictive, hidden and historically entrenched discourses that are commonly used to read both photography and painting. The narrative content and simplified figuration of the artwork assists in creating a relationship with the viewer that enables an exchange of experience comparable to that achieved through dialogue. The simple presentation and understatement of the paintings aims to forge a link with the viewer that implies a joint struggle to understand. This commonality is augmented by the paintings’ muted, unassertive authorial ‘performance’ and through the invitation to engage in the (joint) work of interpretation. The images have been chosen on the basis of their capacity to promote empathy and imaginative experience. To emphasise the ‘joint witness’ of the artist and viewer the paintings are of a size, and installed in a manner that maximises their correspondence with the body of the viewer.