| This thesis investigates the shift in the history of Quebecois photography over the last thirty years. Using a socio-historical approach as well as various theoretical models to address the work of three photographers---Michel Campeau, Genevieve Cadieux and Ramona Ramlochand---this thesis argues that the shift in Quebecois photography is rooted in the broader social, political and institutional environment within which it was practised. More specifically this thesis identifies the centrality of identity formation to the shift in Quebecois photographic practice. The theoretical models employed to discuss the work Campeau, Cadieux and Ramlochand---narrative theory, phenomenology and post-colonial theory---are useful in showing how each of them is engaged in problematizing identity formation through photographic practice. Similar to contemporary understandings of the photographic medium, identity is now acknowledged as a multivalent and complex category of representation. |
