Journal articles on the topic 'Family photographs'
To see the other types of publications on this topic, follow the link: Family photographs.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Family photographs.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Viditz-Ward, Vera. "Photography in Sierra Leone, 1850–1918." Africa 57, no. 4 (October 1987): 510–18. http://dx.doi.org/10.2307/1159896.
Full textAbstract:
Opening ParagraphIn recent years scholars have shown considerable interest in the early use of photography by non-Western peoples. Research on nineteenth-century Indian, Japanese and Chinese photography has revealed a rich synthesis of European and Asian imagery. These early photographs show how non-Western peoples created new forms of artistic expression by adapting European technology and visual idioms for their own purposes. Because of the long history of contact between Sierra Leoneans and Europeans, Freetown seemed a logical starting point for similar photographic research in West Africa. The information presented here is based on ten years of searching for nineteenth-century photographs made by Sierra Leonean photographers. To locate these pictures, I have visited Freetonians and viewed their family portraits and photograph albums, interviewed contemporary photographers throughout Sierra Leone, and researched in the various colonial archives in England to locate photographs preserved from the period of colonial rule. I have discovered that a community of African photographers has worked in the city of Freetown since the very invention of photography. The article reviews the first phase of this unique photographic tradition, 1850–1918, and focuses on several of the African photographers who worked in Freetown during this period.
2
Kea, Pamela. "Photography, care and the visual economy of Gambian transatlantic kinship relations." Journal of Material Culture 22, no. 1 (December 14, 2016): 51–71. http://dx.doi.org/10.1177/1359183516679188.
Full textAbstract:
This article examines transnational kinship relations between Gambian parents in the UK and their children and carers in The Gambia, with a focus on the production, exchange and reception of photographs. Many Gambian migrant parents in the UK take their children to The Gambia to be cared for by extended family members. Mirroring the mobility of Gambian migrants and their children as they travel between the UK and The Gambia, photographs document changing family structures and relations. It is argued that domestic photography provides an insight into the representational politics, values and aesthetics of Gambian transatlantic kinship relations. Further, the concept of the moral economy supports a hermeneutics of Gambian family photographic practice and develops our understanding of the visual economy of transnational kinship relations in a number of ways: it draws attention to the way in which the value attributed to a photograph is rooted in shared moral and cultural codes of care within transnational relations of inequality and power; it helps us to interpret Gambians’ responses to and treatment of family photographs; and it highlights the importance attributed to portrait photography and the staging, setting and aesthetics of photographic content within a Gambian imaginary.
3
Bresnahan, Krystal, and Alyse Keller. "Performing Family Photographs." Departures in Critical Qualitative Research 5, no. 2 (2016): 30–46. http://dx.doi.org/10.1525/dcqr.2016.5.2.30.
Full textAbstract:
Historically, scholars have treated photography and performance as separate aesthetic entities. However, the authors show how combining a performance-based analysis with photo elicitation can generate new possibilities for remembering family experiences of divorce and illness. They purposefully frame photographs as performances, questioning how they are used in photo elicitation and how meanings are made through the embodied acts of the researchers. They use family photographs in their interviews to create a dialogical performance, bringing self and other together to question, explore, and challenge one another's experiences and understandings.
4
Heroldová, Helena, and Jiřina Todorovová. "A Family Portrait: Enrique Stanko Vráz and the Qing Aristocracy During the Boxer Rebellion." Annals of the Náprstek Museum 39, no. 1 (2018): 51–74. http://dx.doi.org/10.1515/anpm-2018-0005.
Full textAbstract:
The Czech traveller and photographer Enrique Stanko Vráz (1860–1932) spent three spring months in China during the Boxer Uprising in 1901. He was amongst the first travellers – photo-reporters. He preferred realistic photographs as the best proof of capturing the world around him. In Beijing, he took several hundred photographs including the Manchu aristocratic families. Among them, he photographed Prince Su (1866–1922), an important late Qing statesman, and his family. The study discusses Prince Su’s family photographs in relations to Vráz’s notes and travel books.
5
Lassetter, Jane H., Barbara L. Mandleco, and Susanne Olsen Roper. "Family Photographs." Qualitative Health Research 17, no. 4 (April 2007): 456–67. http://dx.doi.org/10.1177/1049732306298804.
Full text
6
Sheikh-Miller, Nasira. "Muslim Cultures beyond the Aperture: An East African Photo-Story Illuminated by First-Hand Accounts." Journal of Material Cultures in the Muslim World 1, no. 1-2 (February 9, 2021): 150–90. http://dx.doi.org/10.1163/26666286-12340006.
Full textAbstract:
Abstract This paper is an exploration of Indian Muslim culture in East Africa through pre- and post-independence eras via the medium of photography. It examines the art and craft of photographic practice, the training of photographers, their social networks and those of their patrons, as well as the personal context of photographs. It also discusses the dispersal of archives and personal collections. It is based upon first-hand accounts from professional photographers, their family members as well as patrons, whose ancestors travelled from India via Indian Ocean trade routes. Fareh te chareh is a Gujarati proverb meaning ‘A person who roams advances.’
7
Jarmołowicz-Dziekońska, Małgorzata. "Exilic representation and the (dis)embodied self: memory and photography in Yoshiko Uchida’s , autobiography Desert Exile: The Uprooting of a Japanese-American Family." Idea. Studia nad strukturą i rozwojem pojęć filozoficznych 31 (2019): 148–71. http://dx.doi.org/10.15290/idea.2019.31.09.
Full textAbstract:
Photography and memory seem to be inextricably bound up with each other, as photographs can invoke memories which help to excavate past moments with vivid details. Yoshiko Uchida in her autobiography, Desert Exile: The Uprooting of a Japanese-American Family (1982), delves into her past experiences through the lens of counter-memory, i.e. the memory of the minor and the subjugated. The Japanese-American author strives to recover the past by means of photographic images which—blended into written reminiscences— uncover yet another plane of articulation. Individual memory has enabled the author to chisel her own identity with textual and photographic means of self-expression. Constructing her autobiographical confession, Uchida also draws upon the collective memory of the war internment of the Japanese and Japanese Americans, which inevitably shaped her present self. A set of photographs which accompanies her account testifies that the ocular dimension can be as powerful as the textual one. Each photograph contains a stratum of data which deprives the text of its autonomy and grants it an equal status of signification.
8
Anahita, Sine. "Postmortem Identity Work in Territorial-colonialist Alaska." Humanity & Society 43, no. 2 (July 10, 2018): 179–203. http://dx.doi.org/10.1177/0160597618787848.
Full textAbstract:
Erving Goffman’s dramaturgical ideas about impression management are applied to analyze four historical photographs of deceased children. The photographs are archived at the Alaska State Library and were taken during Alaska’s territorial-colonialist era. This article explains how living photographic subjects, who are often unseen but are symbolized through items visible in the photograph, work with viewers to co-construct social identities of themselves and of the dead children in the photographs. I propose that participants—the seen and unseen subjects, the photographer, and the receiving audience—engage in what Goffman calls frontstage and backstage work to co-construct social identities for the dead children and for the living survivors and to manage the impressions given by the visual images. Further, I propose that the social identities portrayed in the photographs were shaped by social forces and symbol systems external to the persons and settings visible in the images. This article demonstrates that the social systems of family, religion, ethnicity, and gender are especially powerful in co-constructing the symbolic social identities of the participants in the photographs under study. Other issues considered are the social systems of racism, ethnocentrism, and assimilationist policies that targeted Native and immigrant peoples.
9
Wyatt, Kirk D., Anissa Finley, Richard Uribe, Peter Pallagi, Brian Willaert, Steve Ommen, James Yiannias, and Thomas Hellmich. "Patients' Experiences and Attitudes of Using a Secure Mobile Phone App for Medical Photography: Qualitative Survey Study." Journal of Medical Internet Research 22, no. 5 (May 12, 2020): e14412. http://dx.doi.org/10.2196/14412.
Full textAbstract:
Background Point-of-care clinical photography using mobile devices is coming of age as a new standard of care for clinical documentation. High-quality cameras in modern smartphones facilitate faithful reproduction of clinical findings in photographs; however, clinical photographs captured on mobile devices are often taken using the native camera app on the device and transmitted using relatively insecure methods (eg, SMS text message and email) that do not preserve images as part of the electronic medical records. Native camera apps lack robust security features and direct integration with electronic health records (EHRs), which may limit patient acceptability and usefulness to clinicians. In March 2015, Mayo Clinic overcame these barriers by launching an internally developed mobile app that allows health care providers to securely capture clinical photographs and upload them to the EHR in a manner that is compliant with patient privacy and confidentiality regulations. Objective The study aimed to understand the perceptions, attitudes, and experiences of patients who were photographed using a mobile point-of-care clinical image capture app. Methods The study included a mail-out survey sent to 292 patients in Rochester, Minnesota, who were photographed using a mobile point-of-care clinical image capture app within a preceding 2-week period. Results The surveys were completed by 71 patients who recalled being photographed. Patients were seen in 18 different departments, with the most common departments being dermatology (19/71, 27%), vascular medicine (17/71, 24%), and family medicine (10/71, 14%). Most patients (49/62, 79%) reported that photographs were taken to simply document the appearance of a clinical finding for future reference. Only 16% (10/62) of patients said the photographs were used to obtain advice from a specialist. Furthermore, 74% (51/69) of the patients said they would recommend medical photography to others and 67% (46/69) of them thought the photos favorably affected their care. Patients were largely indifferent about the device used for photography (mobile device vs professional camera; 40/69, 58%) or the identity of the photographer (provider vs professional photographer; 52/69, 75%). In addition, 90% (64/71) of patients found reuse of photographs for one-on-one learner education to be acceptable. Acceptability for other uses declined as the size of the audience increased, with only 42% (30/71) of patients deeming reuse on social media for medical education as appropriate. Only 3% (2/71) of patients expressed privacy or confidentiality concerns. Furthermore, 52% (33/63) of patients preferred to provide consent verbally, and 21% (13/63) of them did not think a specific consent process was necessary. Conclusions Patient attitudes regarding medical photography using a secure EHR-integrated app were favorable. Patients perceived that photography improved their care despite the most common reason for photography being to simply document the appearance of a clinical finding for future reference. Whenever possible, health care providers should utilize secure EHR-integrated apps for point-of-care medical photography using mobile devices.
10
Mandleco, Barbara, Jessica Rosemann, Aimee Palicharla, Tammy Rampton, Tina Dyches, and Donna Freeborn. "Sibling Snapshots: Living with Youth who have Autism or Down syndrome." International Journal of Integrative Pediatrics and Environmental Medicine 2 (August 12, 2015): 13–30. http://dx.doi.org/10.36013/ijipem.v2i0.17.
Full textAbstract:
This study used photography to capture important symbols in the lives of 14 siblings of 13 youth with autism (ASD) and 16 siblings of 15 youth with Down syndrome (DS) and then determine if there were differences in the photographs taken according to the type of developmental disability, age, and gender of the sibling. Analysis revealed two types of photographs: people, including family members and non-family, and non-people, including objects, animals, and buildings/scenery. Siblings of youth with DS took a higher percentage of photographs of people and a higher percentage of photographs of family members than siblings of youth with ASD. There were also differences according to age and gender in the people/non people and within family photographs. The 7-9 year olds took a higher percentage of snapshots of typically developing siblings and him/herself whereas the 10- 12 year olds and the 13-16 year olds took a higher percentage of photographs of the youth with the disability than the younger age group. Sisters took a higher proportion of people photographs than brothers; whereas brothers took a higher proportion of family photographs than sisters. Indeed, results validate the importance of gathering data in an open-ended manner directly from young people, confirm the use of photography as a method of facilitating communication with young people about important symbols in their lives, and indicate there are differences in the percentage of photographs taken of people/non people and family/non family according to disability, age and gender of siblings.
11
Bell, Amy. "Crime Scene Photography in England, 1895–1960." Journal of British Studies 57, no. 1 (January 2018): 53–78. http://dx.doi.org/10.1017/jbr.2017.182.
Full textAbstract:
AbstractThis article discusses the development of techniques and practices of murder crime scene photography through four pairs of photographs taken in England between 1904 and 1958 and examines their “forensic aesthetic”: the visual combination of objective clues and of subjective aesthetic resonances. Crime scene photographs had legal status as evidence that had to be substantiated by a witness, and their purpose, as expressed in forensic textbooks and policing articles, was to provide a direct transfer of facts to the courtroom; yet their inferential visual nature made them allusive and evocative as well. Each of four pairs of photographs discussed reflects a significant period in the historical evolution of crime scene photography as well as an observable aesthetic influence: the earliest days of police photography and pictorialism; professionalization in the 1930s, documentary photography, and film noir; postwar photographic expansion to the suburban and middle class, advertising images of the family and home; and postwar elegiac landscape photography in the 1950s and compassion shown to infanticidal mothers. Crime scene photographs also demonstrate a remarkable shift in twentieth-century forensic technologies, and they reveal a collection of ordinary domestic and pastoral scenes at the moment when an act of violence made them extraordinary.
12
Remes, Outi. "Reinterpreting Unconventional Family Photographs." Afterimage 34, no. 6 (May 1, 2007): 16–19. http://dx.doi.org/10.1525/aft.2007.34.6.16.
Full text
13
Lockhart, Sharon. "Interview Locations/Family Photographs." Art Journal 59, no. 1 (2000): 64. http://dx.doi.org/10.2307/778083.
Full text
14
Lockhart, Sharon. "Interview Locations/Family Photographs." Art Journal 59, no. 1 (March 2000): 64–73. http://dx.doi.org/10.1080/00043249.2000.10791983.
Full text
15
Abilova, Ramina O., and Tatiana P. Krasheninnikova. "Journey of the USA Citizen Frank Whitson Fetter to the USSR: History of the Foreign Photographic Collection in the Duke University Library (1930)." Herald of an archivist, no. 4 (2020): 1184–200. http://dx.doi.org/10.28995/2073-0101-2020-4-1184-1200.
Full textAbstract:
The article presents the results of studying the Whitson Fetter (1899-1991) photo collection on Fetter’s visit to the Soviet Union in the summer of 1930. He spent six days in Moscow and six weeks in Kazan, then took a trip down the Volga River and the Caspian Sea. In his journey, Frank W. Fetter took about 330 photographs, which are currently stored in the David M. Rubenstein Rare Book & Manuscript Library, Duke University (Durham, North Carolina, USA). The article reconstructs the origin of the photographic collection (USSR, June-August 1930) and its life in the family archive of Frank W. Fetter (USA, 1930-1991). In 1992, according to his will, the entire archive, including photographs, was transferred to the library of the Duke University. Thus, the attention is focused on the library activities in acquisition, storage, accounting, and usage of Frank W. Fetter’s photographs (1992 - present). In this context, 2008 is of particular importance: it is then that the photographs were scanned and published on the website. The study is based on content and discourse analysis of the photographs; it uses comparative method for studying Frank W. Fetter paper collection at the Duke University library and materials from Russian archives, interviews of participants in the documents transfer to archival storage and photographs digitization. Thus, in a first time case-study of a single photograph collection, the authors trace the route of photographs from their creator to their researchers. Using photographs taken in the USSR, but stored outside Russia, is to supplement the historiography with valuable information on the history of photograph collections and to consider photographic documents on the history of Soviet Russia as an item of storage in foreign archives. The article may be of interest to historians, archivists, museum specialists, curators, and all researchers studying photo documents as objects of storage.
16
Janeiro, Ana. "The Archive is Present: Performing a Story of Dictatorship Through the Family Album." Master, Vol. 5, no. 2 (2020): 32–35. http://dx.doi.org/10.47659/m9.032.ess.
Full textAbstract:
This essay describes an investigation into a family photographic archive that belonged to my grandparents and represent a period in Portugal’s past (1940–1975) scarred by one of the longest dictatorships in history. The research carries out an ‘iconographic’ analysis of the photographs in the family albums and on how these were influenced by the consistent and highly visual propaganda of the New State regime (1933–1974). It demonstrates how the iconography of this visual propaganda embedded itself into the family album, specifically regarding its propaganda strategy and its ideology and politics towards women. Later these findings were explored through performance photography, creating a photographic body of work. Focusing mostly on the figure of my grandmother and exploring pose and gesture, which were subsequently re-performed for the camera. The information contained within the archive images is re-written within the performance images. Keywords: photography and performative, visual propaganda, dictatorship, archive, visualization of the role of women
17
Kosh-Zohar, Talila. "Family Frames as Exile Photography." Leo Baeck Institute Year Book 64, no. 1 (2019): 5–17. http://dx.doi.org/10.1093/leobaeck/ybz003.
Full textAbstract:
Abstract This article examines five family photographs. The first of these family frames was taken in Czechoslovakia during the early 1930s and was found after the Holocaust, the one and only surviving photograph of my father’s exterminated family. The other four are family frames taken in Israel, the land of rebirth, where the survivors tried to start over from scratch, forget the past, and create a new family. All five frames are discussed as ‘exile photographs’—images of absence, alienation, and nostalgia; images of emotions like anxiety, sadness, and loneliness, all of which are inherent to the condition of exile. The article argues that the new family frames, which are supposed to represent new (personal and national) beginnings, continue to authenticate the traumatic past. Their testimony bears witness not to revival and reconstruction, but to forced exile from one’s birthplace, a devastated home and family, a condition of terminal loss.
18
Geffroy, Yannick. "Family photographs: A visual heritage1." Visual Anthropology 3, no. 4 (January 1990): 367–409. http://dx.doi.org/10.1080/08949468.1990.9966540.
Full text
19
Musleh-Motut, Nawal. "From Palestine to the Canadian Diaspora." Middle East Journal of Culture and Communication 8, no. 2-3 (2015): 307–26. http://dx.doi.org/10.1163/18739865-00802008.
Full textAbstract:
In this paper I trace the various social biographies of selected family photographs that traveled from Palestine to Canada and depict my parents’ lives in pre-1948 Palestine, the West Bank and Jordan, and cover multiple generations from the 1930s to the present day. In this work I answer previously unattended questions; for instance, how and to what extend did the social and cultural meaning of these photographs change as they were removed from the photographic traditions of the Middle East where they were produced and relocated to Canada with my parents? What social and cultural value did these photographs hold for me and my siblings as members of the postmemory generation growing up in Canada and has this significance shifted now that we are adults? Finally, what importance might this photographic archive come to have for my siblings’ children? Utilizing the photographic album that houses the bulk of the family’s photographs produced in Palestine and Jordan as an instrument of social and oral performance, I analyze how the members of my family narrate the multiple and fluid memories, investments and realities that these photographs facilitate.
20
M'rani Alaoui, Malika. "Early Photography in the Rijksmuseum’s Collection: A Group of Glass Negatives from the Estate of Laurens Lodewijk Kleijn (1826-1909)." Rijksmuseum Bulletin 68, no. 1 (March 15, 2020): 5–29. http://dx.doi.org/10.52476/trb.9688.
Full textAbstract:
In 1999 a group of nineteenth-century glass negatives were transferred to the Rijksmuseum from the University of Leiden’s Print Room. The negatives came from the estate of the Dutch artist Laurens Lodewijk Kleijn (1826-1909), who also made them. Kleijn lived in Rome between 1851 and 1868, became interested in photography and began to experiment with the medium. While he was in Italy, he came into contact with Princess Marianne, who awarded him a number of commissions. He also looked after her sizeable collection, first in Rome, later in her museum in Erbach. As the curator, Kleijn photographed part of the collection and the museum’s interior. These photographs were used for a museum catalogue and for picture postcards. The Rijksmuseum’s glass negatives show a variety of artworks from the princess’s collection. There are more experimental shots, too, family photographs and portraits, and photographs of paintings by Kleijn and of his studio. Thanks to the surviving glass negatives – and the artist’s estate as a whole – it was possible to reconstruct his interesting life story and take a fresh look at the history of photography.
21
Aytemiz, Pelin. "Making Grandfather Come Out Better." Middle East Journal of Culture and Communication 8, no. 2-3 (2015): 355–73. http://dx.doi.org/10.1163/18739865-00802010.
Full textAbstract:
In contemporary Turkey, a growing number of lower to middle-income families bring old and often damaged photographs of their deceased family members to digital studios for restoration. Digital restoration artists, whether working online or from photography studios, retouch these photographs in often highly creative ways, such as adding color and fantasy backgrounds, or combining discrete portraits into fictional (diachronic) family portraits. Digital technologies such as the Photoshop program are here called upon to perform a very old desire: that of ensuring a dead person’s continued presence. Engaging with debates on the passage from analog to digital and the relationship of photography to death, I examine this process from two perspectives. First, I focus on digital artists who understand their work in professional terms as intensely material, and in social terms as one of ‘saving photographs from death’; second, I examine the renewed social potency that such digitally remastered photographs acquire in Turkish homes, where digital intervention not only ensures the continued potency of ancestral photographs in ensuring the presence of the deceased patriarch, but also enhances this presence in novel ways. Digitally remastered photographs are understood here as more than ‘just’ photo-realistic. They are ‘more perfect’ or even ‘more real’: their fictionality adds to their auratic character as icons of authority and makes them eminently suited for the renewed kind of social work that is demanded of them.
22
Pedri-Spade, Celeste. "“But they were never only the master’s tools”: the use of photography in de-colonial praxis." AlterNative: An International Journal of Indigenous Peoples 13, no. 2 (March 27, 2017): 106–13. http://dx.doi.org/10.1177/1177180117700796.
Full textAbstract:
The majority of anthropological literature around photography of Indigenous peoples has privileged the actions, agency, and intent of the Western photographer. While one cannot ignore the significant colonizing influences that photographs have had on Indigenous peoples, one cannot presume that these individuals were solely the silenced subject or victim in a one-sided, inferior relationship with the camera and its operator. Recent scholarship is now re-examining the relationship Indigenous peoples have had with photography as a culturally productive technology since its development. In this article, I will address the role of photography in a global context as an object and a method of decolonization in two ways: (a) through archived collections of colonial photography and (b) in the production of contemporary photographs by peoples who experience contemporary colonialism. In both of these contexts, I will explore how various populations or communities with a colonial history use photography to confront ongoing legacies of colonialism, particularly in agendas aimed at repairing and reconfiguring relationships with self, family and kin, colonizer, community, and the natural world. Drawing on examples from several countries and locales, I will address the potentials and challenges of reframing Indigenous peoples’ experience of, and relationship with, photography within the context of de-colonial praxis.
23
Kanatani, Kim, and Sharon Vatsky. "Three Contemporary Artists Explore Family Photographs." Art Education 63, no. 4 (July 2010): 25–32. http://dx.doi.org/10.1080/00043125.2010.11519076.
Full text
24
Becker, Karin, and Geska Helena Brečević. "More Than a Portrait: Framing the Photograph as Sculpture and Video Animation." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 48–55. http://dx.doi.org/10.47659/m5.048.art.
Full textAbstract:
This essay traces the resurrection of the fotoescultura, a three-dimensional photographic portrait popular in rural Mexico in the early 20th century, as interpreted in recent works by Performing Pictures, a contemporary Swedish artist duo. The early fotoesculturas were an augmented form of portraiture, commissioned by family members who supplied photographs that artisans in Mexico City converted into framed sculptural portraits for display on family altars. We compare these »traditional« photographic objects with “new” digital forms of video animation on screen and in the public space that characterize Performing Pictures work, and explore how the fotoescultura inspired new incarnations of their series Men that Fall. At the intersection between the material aspects of a “traditional” vernacular art form and “new” media art, we identify a photographic aesthetic that shifts from seeing and perceiving to physical engagement, and discuss how the frame and its parergon augment the photographic gaze. The essay is accompanied by photos and video stills from Performing Pictures’ film poem Dreaming the Memories of Now (2018), depicting their work with the fotoesculturas. Keywords: fotoesculturas, frame, parergon, vernacular photography, videoart
25
La, Kristie. "“Enlightenment, Advertising, Education, Etc.”: Herbert Bayer the Museum of Modern Art's Road to Victory." October 150 (October 2014): 63–86. http://dx.doi.org/10.1162/octo_a_00201.
Full textAbstract:
“In the beginning was virgin land and America was promises.”2 So began the text panel located in the opening panorama of the photo exhibition Road to Victory: A Procession of Photographs of the Nation at War that the Museum of Modern Art organized in 1942 and circulated between 1943 and 1945. Years before Edward Steichen became curator of photography at MoMA and organized the global blockbuster exhibition The Family of Man, he combed government, press, and corporate archives to select the photographs for Road to Victory, his first curatorial project at the museum. Encircling the opening text were large photographic panels of picturesque landscapes, stern Native Americans, and a few buffalo. The largest panel—of pristine mountain valleys—was sixteen by twelve feet, making the viewer about the same height as the three portraits of Native Americans. Exhibition designer Herbert Bayer, recent Austrian émigré and former Bauhaus master, removed the walls from the second floor of the museum, using the large-scale photographs to structure the exhibition architecturally. Arranged in a semicircle, these opening panels welcomed the viewer and urged him to follow the curve into the exhibition.
26
Mariz, Anna Carla Almeida, Armando Malheiro da Silva, and Rosa Inês de Novais Cordeiro. "As fotografias nos arquivos pessoais e familiares: para uma revisão teórica." Páginas a&b : Arquivos & Bibliotecas, no. 14 (2020): 74–90. http://dx.doi.org/10.21747/21836671/pag14a6.
Full textAbstract:
Research about personal and family archives that was developed based on the literature published in Portuguese language and on technical visits carried out in December 2019 at the Archive and Library of the Eugénio de Almeida Foundation, in Évora, and at the Photographic Documentation Archive of the General Directorate of Cultural Heritage, in Lisbon, with the objective of verifying how the archival processing of photographs presents itself in this panorama. It seeks to examine how the authors conceptualize personal and family archives and how is the photographs presentation in these archives. It was found that there is no consensus among the authors on the terminology used in this area and that, although photographs are present in most personal archives, the literature in the area does not reflect this reality.
27
Auslander, Leora. "Reading German Jewry through Vernacular Photography: From the Kaiserreich to the Third Reich." Central European History 48, no. 3 (September 2015): 300–334. http://dx.doi.org/10.1017/s0008938915000771.
Full textAbstract:
AbstractBuilding on a generation of scholarship that argues that an understanding of German Jewish life must move beyond debates over terms—assimilation, acculturation, integration, subcultures, and symbiosis—this article uses three photograph albums created by the Wassermann family of Bamberg, in conjunction with the written record, to suggest an alternative interpretive framework for understanding the complexity of German Jewish lives in the first third of the twentieth century. Rethinking this history through a close analysis of photographs and photograph albums is particularly productive because even if photography and album-making were ubiquitous practices throughout the twentieth century, the special affinity of Jews for photography has been well-documented. Their paradoxical historic experience—including ghettoization and forced migration, on the one hand, and powerful feelings of “at-homeness” in their various diasporic dwelling places, on the other, in combination with the specificities of Jewish religious practice—has given Jews a particular relation to time and to place, a relation sometimes made manifest in photography. That relation is, furthermore, historical, changing with each context in which Jews find themselves living.
28
MITRIČEVIĆ, Filip. "The Ways in Which I Never Thought About My Great-Grandfather: An Essay on the Potentials of Photography as a Historical Document∗." Tokovi istorije 28, no. 3/2020 (December 14, 2020): 247–68. http://dx.doi.org/10.31212/tokovi.2020.3.mit.247-268.
Full textAbstract:
This paper is on the trail of answering the theoretical question of the potential of photography as a historical source. The paper does not aim for a historical reconstruction in the classical sense but is an attempt to show the reach of this visual media in historical research, based on the correlation of a sample of family photographs, oral history, and theory. By employing the author’s “personal voice,” the paper attempts to correlate particularities with a broader context and general theory. The author uses photographs of his great-grandfather, made at a prisoner-of-war camp during the World War II, to show the limitations of photography as a historical source.
29
Cervantes Salas, Mauricio Pablo, Harlan Koff, and Carmen Maganda. "World Family Portrait." Regions and Cohesion 11, no. 2 (June 1, 2021): 145–51. http://dx.doi.org/10.3167/reco.2021.110207.
Full textAbstract:
In this issue: Regions & Cohesion is proud to present a selection of four photographs submitted by Mauricio Salas Cervantes and taken by Felipe Morales Leal that describe a research visit within a multidisciplinary and multinational project in the transboundary Guatemala–Mexico region with a perspective of a landscape analysis. These pictures taken in the Suchiate river in Soconusco region show the complexity and plurality of one of the most transited crossing points between Mexico and Guatemala. We also publish two photographs by our editors Carmen Maganda and Harlan Koff that illustrate their research visit to the Costa Chica Guerrero, Mexico. These photos juxtapose the co-existence of two worlds in this region: one local and one global.
30
Poister, Geoffrey. "Inside vs. outside meaning in family photographs." Visual Anthropology 14, no. 1 (March 2001): 49–64. http://dx.doi.org/10.1080/08949468.2001.9966816.
Full text
31
Donaldson, Peter J. "Using Photographs to Strengthen Family Planning Research." Family Planning Perspectives 33, no. 4 (July 2001): 176. http://dx.doi.org/10.2307/2673722.
Full text
32
Donaldson, Peter J. "Using Photographs to Strengthen Family Planning Research." International Family Planning Perspectives 27, no. 3 (September 2001): 148. http://dx.doi.org/10.2307/2673837.
Full text
33
Parayil, Sujithkumar. "Family photographs: visual mediation of the social." Critical Quarterly 56, no. 3 (October 2014): 1–20. http://dx.doi.org/10.1111/criq.12134.
Full text
34
Hawes, J. M., and E. I. Nybakken. "Photographs as a Source for Family History." OAH Magazine of History 15, no. 4 (June 1, 2001): 48–49. http://dx.doi.org/10.1093/maghis/15.4.48.
Full text
35
Wharton, Whitney, Fayron Epps, Mariya Kovaleva, Lindsey Bridwell, Rachanice Candy Tate, Cornelya D. Dorbin, and Kenneth Hepburn. "Photojournalism-Based Intervention Reduces Caregiver Burden and Depression in Alzheimer’s Disease Family Caregivers." Journal of Holistic Nursing 37, no. 3 (October 4, 2018): 214–24. http://dx.doi.org/10.1177/0898010118801636.
Full textAbstract:
Purpose: Art interventions have demonstrated holistic benefits for persons living with dementia and their caregivers. In this article, we describe the results of a pilot photojournalism program for 10 unpaid caregivers of persons living with dementia, with respect to caregivers’ experience in the program and their psychological well-being. Design: Caregivers participated in four sessions led by a professional photojournalist who taught principles of photography. Between the sessions, caregivers took photographs that represented what caregiving meant to them using digital cameras provided in the program. During the sessions, instruction was interspersed with discussion of caregivers’ photographs. Method: Caregiver burden and depressive symptoms were measured pre- and postprogram. Qualitative exploration included sessions’ observations, viewing caregivers’ photographs, and recording caregivers’ accompanying comments. Findings: For participants with pre- and postprogram data, caregiver burden decreased significantly ( p = .037). For caregivers with pre- and postprogram data, depressive symptoms decreased nonsignificantly ( p = .066). Clinically meaningful reductions in caregiver burden and depressive symptoms were attained. Qualitative findings highlighted caregivers’ strong engagement with the project, the facilitator, and other participants, and reflection on multiple aspects of their experience. Conclusions: This intervention helped caregivers creatively communicate their experience and demonstrated efficacy in the improvement of caregivers’ psychological well-being.
36
Hayes, Patricia. "SEEING AND BEING SEEN: POLITICS, ART AND THE EVERYDAY IN OMAR BADSHA'S DURBAN PHOTOGRAPHY, 1960s–1980s." Africa 81, no. 4 (October 13, 2011): 544–66. http://dx.doi.org/10.1017/s0001972011000593.
Full textAbstract:
ABSTRACTThere is an assumption that the photographic iconography of the South African struggle against apartheid is universally known and familiar. It is however dominated by certain tropes and categories that obscure the many complexities and nuances of its origins, its practitioners and its effects. This article focuses on one photographer, Omar Badsha, and explores his own narrations about city and family life in the Indian Ocean port city of Durban, and the artistic and political trajectories in which he was embedded that gave rise to his own photographic work and the organization of other photographers into the collective known as Afrapix. Badsha grew up in ‘the imperial ghetto’ of Grey Street in Durban within a rich legacy of radical political and cultural debate, becoming an artist and later a trade union organizer. It is the imperatives of the latter work that pushed him into photography as a medium of literacy. Many of his own photographs started as a personal visual diary when he re-explored the spaces of his childhood as an adult, and in the process became increasingly sensitized to the parallels between political and religious ritual. In particular he was fascinated by the dynamics between the leaders and the led, and the techniques and theatricalities of the different genres of mobilization. His work and the multiple forces and influences at play suggest that there were (and are) plural and competing aesthetic regimes during (and after) apartheid that are little recognized, mostly due to a deeply entrenched (and ongoing) separation between the domains of aesthetics and politics in South Africa and elsewhere outside the African continent.
37
Aziz, Jamaluddin. "“Say Cheese”: Family Photos, Modern Malay Masculinity and Family Narrative in Some Malaysian Films." Jurnal Komunikasi: Malaysian Journal of Communication 36, no. 4 (December 11, 2020): 282–93. http://dx.doi.org/10.17576/jkmjc-2020-3604-17.
Full textAbstract:
Family photographs are often used as a prop in a set-up of a family home in a film. Employing visual culture approach, I would argue that through the use of family portraits both in figurative and artefactual forms, the narrative about family is often unravelled, challenged and subsequently validated. A close textual analysis of three P. Ramlee’s films that mark the dawn of modernism in the immediate post-independence Malaya and the formation of Malaysia in 1963 as a case study, this paper asks the following questions: What types of narratives are created through the display of family portraits? How do these family portraits reflect the changing conceptions of the institution of the family especially pertaining to modern Malay masculinity? And, how do family photographs inform family narratives? The analysis finds that, on one hand, family portraits are used to narrate the exteriorization of masculinity in trouble by revealing its castration anxiety. On the other, they also point to “the hero journey archetype” that apotheosizes masculine dominance as proven by the films’ happy ending. The implication of this study lies in the way family photographs in films can be understood not merely as props, but in visual culture sense, as locating the source of the conflict of modern Malay masculinity in the family itself. Although family portraits in these films are meant to be innocuous to Malay masculinity in crisis, it is ideologically a folie de grandeur about the family and what it means for the nation in transition. Keywords: Family narratives, family photographs, malaysian films, visual culture, masculinity.
38
Høvik, Ingeborg. "Framing the Arctic: Reconsidering Roald Amundsen’s Gjøa Expedition Imagery." Nordlit, no. 35 (April 22, 2015): 137. http://dx.doi.org/10.7557/13.3431.
Full textAbstract:
<p align="left">In 1906 Roald Amundsen’s Gjøa Expedition returned to Norway after three years in the Arctic. The first to complete a Northwest Passage by sea, the expedition also brought back a substantial amount of ethnographic material concerning the Netsilik Inuit, with whom Amundsen and his crew had been in sustained contact during their stay on King William Island in Nunavut between 1903 and 1905. This material included a large number of photographs, forty-two of which were included as illustrations in his expedition narrative, titled <span style="font-family: TimesNewRomanPSMT;"><em><span style="font-family: TimesNewRomanPS-ItalicMT;">Nordvest-passagen </span></em><span style="font-family: TimesNewRomanPSMT;">and first released in </span></span>Norwegian in 1907. Focusing on a selection of published and unpublished photographs from Amundsen’s voyage and their interrelationships, this article examines the degree to which the Gjøa Expedition’s use of photography formed part of a planned project that intersected with anthropological concerns and practices of its time. My purpose is further to demonstrate that there is a discernible change in the representation of indigeneity that occurs when particular photographs were selected and then contextually reframed as illustrations in <span style="font-family: TimesNewRomanPSMT;"><em><span style="font-family: TimesNewRomanPS-ItalicMT;">Nordvest-passagen</span></em><span style="font-family: TimesNewRomanPSMT;">. </span></span>On the one hand, the extensive body of photographs taken in the field elaborates the close interaction between crew and Inuit recorded in Amundsen’s personal diary and published narrative, testifying to the existence of an active and dynamic contact zone. In this regard, the original photographs could arguably be read as a dialogic portrayal of the unique individuals Amundsen’s crew met while in the Arctic. On the other hand, a peculiar distancing seems to have taken place as the Gjøa Expedition’s photographs were selected and reproduced as illustrations for Amundsen’s expedition narrative. Likely connected to a desire to match his expedition narrative to existing scientific visual and literary conventions, this shift suggests Amundsen’s attempts through textual and visual means to deny the Netsilik Inuit’s coevalness.</p>
39
Singh, Amrita. "Photographic silence: Remediating the graphic to visualize migrant experience in Shaun Tan’s The Arrival." Studies in Comics 11, no. 2 (November 1, 2020): 321–39. http://dx.doi.org/10.1386/stic_00033_1.
Full textAbstract:
In the absence of a verbal language, The Arrival’s mode of representation is derived from various visual storytelling practices in addition to the comic. This article proposes that Tan remediates the mode of comics storytelling by presenting the narrative as a photo album and drawing the panels as photographs, and in turn the photograph is also remediated in the text as a drawn object. Using transmedial techniques such as focalization, gaze, framing and page layout, in addition to deliberations on style and form, Tan constructs comics storytelling with a photographic vision. This photographic vision is used to represent the experience of migration in the narrative as well as connect past and contemporary histories of migration world over. The photograph emerged as an important medium through which memory came to be visualized in the twentieth century, and is an important historical artefact capable of telling the story of its times. Tan also expects the reader to employ an intermedial and intertextual critical literacy to engage with the narrative. The visual poetics of the text direct the reader’s affective and empathetic engagement with the situation being presented and with the character whose experience they encode. The article focuses on three kinds of photographic representation in the narrative: the iterations of the protagonist’s family photograph, the narrative itself shaped as a photo album and the immigrant’s identification photograph.
40
Pasternak, Gil. "Intimate Conflicts: Family Photographs, Politics and State Ideology." Radar 2, no. 1 (March 1, 2011): 13–14. http://dx.doi.org/10.5920/radar.2011.2113.
Full text
41
Smith, Shawn Michelle. "Fragile Testimony: Family Photographs and Kelly McKaig's Dreamworlds." Frontiers: A Journal of Women Studies 19, no. 3 (1998): 98. http://dx.doi.org/10.2307/3347090.
Full text
42
Kral, Michael J. "More on Goddard and the Kallikak family photographs." American Psychologist 43, no. 9 (September 1988): 745–46. http://dx.doi.org/10.1037/0003-066x.43.9.745.
Full text
43
Callister, Sandy. "Picturing loss: Family, photographs and the Great War." Round Table 96, no. 393 (December 2007): 663–78. http://dx.doi.org/10.1080/00358530701634242.
Full text
44
Bickers, Robert. "Transforming Frank Peasgood. Family Photographs and Shanghai Narratives." European Journal of East Asian Studies 6, no. 1 (2007): 129–42. http://dx.doi.org/10.1163/157006107x197691.
Full textAbstract:
AbstractWhat narratives can be fashioned by the historian from visual documents, and how might this relate to the narrative intention of those who created them? This paper explores the handful of surviving photographs recording the career of a British member of the Shanghai Municipal Police between 1929 and 1943. War and internment destroyed most of the visual records that former coalminer Frank Peasgood had collected during his police service, saving only those that had accompanied letters he had sent home to his family. The narrative he created with these can be clearly presented, and is discussed in the first part of the paper. Clearly, only visual documents could so powerfully demonstrate the transformation undergone by a man coming from his background, and provide the tools for showing that transformation. The photographs are then revisited and a further, complicating, layer of narrative is added, one which puts the policeman back into his place as a colonial subject.
45
Rose, Gillian. "Family photographs and domestic spacings: a case study." Transactions of the Institute of British Geographers 28, no. 1 (March 2003): 5–18. http://dx.doi.org/10.1111/1475-5661.00074.
Full text
46
Doucet, Andrea. "Decolonizing Family Photographs: Ecological Imaginaries and Nonrepresentational Ethnographies." Journal of Contemporary Ethnography 47, no. 6 (January 1, 2018): 729–57. http://dx.doi.org/10.1177/0891241617744859.
Full textAbstract:
This article lays out my process of developing an ecological and nonrepresentational approach for conducting an ethnography of family photos as objects of investigation, practices, and sites for the making and remaking of decolonizing stories and histories. It is rooted in a three-part project on family photographs: first, an ongoing project with a three-generation Indigenous family who has a history with Canada’s residential school system; second, revisiting my own family photo albums that include photos of missionary nuns in my family who had worked in Indigenous schools and communities in the 1950s–60s; and third, the development of a politico-ethico-onto-epistemological approach for viewing and analyzing family photos and narratives from and about photographs. The article focuses on the latter two parts of this project. Informed by my reading of Lorraine Code’s “ecological thinking” approach to knowledge making, I bring Code into conversation with Phillip Vannini’s “nonrepresentational ethnographies” combined with new materialist writing on performativity and vitality; selected Indigenous scholars’ writing on ontological multiplicity, knowledge making as relationship, and the making of life worlds; Margaret Somers’s approach to nonrepresentational narratives and ontological narrativity; and Annette Kuhn’s work on analyzing family photographs and cultural memory. I demonstrate this approach through the analysis of one of my family photos. I also reflect on the ethical challenges of attempting to analyze a different kind of family photo, such as photos of residential schooling that are increasingly on display in media, online, and in public venues. I argue for the need to address representational issues of social injustice in nonrepresentational approaches and a recognition that there are sites and times—especially in cases of human rights abuses, violence, or trauma—when nonrepresentational ethnographies and narratives call for strategic negotiation with representation.
47
Stevens, Wallace. "Portfolio: An Untitled Poem and Three Family Photographs." Wallace Stevens Journal 45, no. 1 (2021): 107–10. http://dx.doi.org/10.1353/wsj.2021.0007.
Full text
48
Lonetree, Amy. "A Heritage of Resilience." Public Historian 41, no. 1 (February 1, 2019): 34–50. http://dx.doi.org/10.1525/tph.2019.41.1.34.
Full textAbstract:
This article explores the importance of a unique and rich collection of photographs of Ho-Chunk people taken between 1879 and 1942 by Black River Falls, Wisconsin, photographer Charles Van Schaick. Unlike the collections of Edward Curtis who sought to capture images of a “vanishing race” for ethnographic or commercial purposes, these were photographs that Ho-Chunk families themselves commissioned for their own personal use, and for the most part, controlled how these images were circulated. Today these images are powerful representations of Ho-Chunk tribal and family history, and reflect a heritage of resilience. The stories the images convey of the importance of family, place, ongoing colonialism, and survivance are the central themes of the Ho-Chunk experience in the late nineteenth and early twentieth centuries. Attention to how we begin to theorize the diversity of Indigenous peoples’ affective responses to these historic images will also be explored through an analysis of my own engagement with family images in the visual archive.
49
Bates, Maya Jane, Jane Ardrey, Treza Mphwatiwa, Stephen Bertel Squire, and Louis Willem Niessen. "Enhanced patient research participation: a Photovoice study in Blantyre Malawi." BMJ Supportive & Palliative Care 8, no. 2 (February 1, 2018): 171–74. http://dx.doi.org/10.1136/bmjspcare-2017-001439.
Full textAbstract:
ObjectivesPatient involvement in palliative care research is a desirable if challenging goal. Photovoice is an action research method in which affected communities gather photographs to document and discuss their communities’ strengths and concerns. Engagement with policymakers is a separately stated goal. Photovoice is increasingly used in health-related research but has not been widely described in the palliative care literature. We report on experiences and lessons learnt using Photovoice in Blantyre, Malawi to encourage its wider use in research and practice.MethodsThirteen co-researchers (six patients and seven household carers, mean age 47 years) receiving community-based palliative care, attended nine half-day group sessions over a 4-month period. Co-researchers produced, selected and analysed photographs. On completion of data collection, they conducted an advocacy event, including a photographic exhibition, to which media representatives and community leaders were invited.ResultsProcedures to ensure safety of co-researchers and to obtain consent of individuals identified in the photographs were developed during the planning phase. Co-researchers engaged with the Photovoice process with enthusiasm, although frailty and physical disability (poor sight) limited participation for some older adults. Inclusion of palliative care staff within the research team helped to facilitate open dialogue and clinical review where appropriate.ConclusionsIn this Photovoice study, patients and family members receiving palliative care engaged in an exploration of household well-being using photography, participatory analysis and an advocacy event. With appropriate planning, Photovoice can be adapted to a range of settings to enhance patient participation.
50
Adams, Tamsyn. "Unpacking the photographic collection of a Natal Midlands farming family: ways of working with photographs." Critical Arts 32, no. 1 (January 2, 2018): 27–42. http://dx.doi.org/10.1080/02560046.2018.1439077.
Full text