Journal articles on the topic 'Photographed moment'
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1
Wicky, Érika. "L’imaginaire pictural de la matière photographique (1850–1860) : la cuisine de l’art, du peintre au photographe." RACAR : Revue d'art canadienne 40, no. 1 (August 27, 2015): 85–94. http://dx.doi.org/10.7202/1032758ar.
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The writings on photography published in the 1850s reveal the emergence of a pictorial imaginary of photographic matter that grew in the margins of the amazement at a medium completely dominated by nature and the precise developments of the photographic technique. In some of these texts, photographers were likened to painters because of the application, in both techniques, of multiple layers of varied and more or less opaque substances. Inasmuch as it concerned the process of fabrication more than the image itself, the understanding of the work performed by photographers, of their action on matter, directly affected their social status. To reflect on the material imaginary of photography is then to interrogate the modalities of the joint emergence of the profession and of the figure of the photographer-artist at the very moment of the industrialization of photography.
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Ferenc, Tomasz. "Praca, robotnicy, archiwa, fotografia — utrwalanie stereotypów i walka o emancypację." Kultura i Społeczeństwo 59, no. 3 (August 11, 2015): 203–21. http://dx.doi.org/10.35757/kis.2015.59.3.10.
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Work, workers, and workers’ living conditions quickly became a field of interest for photographers. Already by the middle of the 19th century there were photographs showing working people. Nevertheless, the contexts in which such photographs were taken varied considerably. The first part of this article presents, in the historical perspective, the different causes and strategies involved in making these types of documents, up to the moment when photographs began to appear that had been made by workers themselves. The movement to photograph workers, which developed in the first decades of the 20th century, is recalled in the second part of the article (using the examples of the Weimar Republic and Soviet Russia). The third part is devoted to photographic projects whose purpose was to increase the productivity of, and control over, workers. Photography is presented as a scientific tool for measuring movement and as an illustration of the most effective manners of organizing work. At the end, the Digital Repository of Worker Photography is described, as an example of work on a collection of photos and the creation of a platform permitting further work, but also as a legal and methodological problem.
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Side, Katherine. "Grimaldi’s iconic photograph: Bloody Sunday, Derry 1972." Irish Journal of Sociology 26, no. 1 (November 21, 2017): 71–93. http://dx.doi.org/10.1177/0791603517741072.
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This article examines the concept of photographic iconicity in relation to Italian press photographer, Fulvio Grimaldi’s photograph of the evacuation of Derry-born marcher, John [Jackie] Francis Duddy, at Bloody Sunday, 1972. This historical photograph continues to instigate remembering and forgetting among nationalists and unionists in the context of Northern Ireland. Its uses, in state-led government inquiries, among nationalist communities and in the form of artistic intersessions, are demonstrated to be consistent with the hallmarks of iconicity, particularly the ability to situate viewers close to events in a historically specific moment. Additional factors, such as the significance of the photographer and the materiality of the image and objects in the image are also considered, in relation to Grimaldi’s image, for the ways they instigate recall, compel contestation, and maintain the photograph’s iconic status.
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Vanover, Charles. "The Magic of Theater: Photographing a Performative Academic Career." Cultural Studies ↔ Critical Methodologies 21, no. 1 (June 26, 2020): 41–55. http://dx.doi.org/10.1177/1532708620931136.
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I discuss my efforts as a “good enough” photographer and describe the role photographs play communicating important moments from a series of ethnodramas I built about the Chicago Public Schools. I discuss my early efforts to use photography to legitimize my arts-based research practice, describe how my goals changed, and explain how I created images to communicate the energy of live theater. Building on Eisner’s theoretical work, I discuss three tensions of my photographic practice: intention versus improvisation, action versus artifice, and safety versus possibility. These tensions emphasize my limits as a photographer and the possibilities of arts-based research.
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Redmond, Eden. "Radiant Traces." Departures in Critical Qualitative Research 3, no. 4 (2014): 418–26. http://dx.doi.org/10.1525/dcqr.2014.3.4.418.
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Photography is a referent medium. While a photograph is a physical object with its own ontology, the image depicted references a moment that has already ended. The mobility of a photograph relies on the divide between presence and absence, the material and the ephemeral. This photographic essay considers the tensions and parallels of such divides in photographing and photographs of sadhus, holy men who wander throughout East Asia. Sadhus relinquish worldly possessions in the name of spiritual pursuits, surviving on whatever the divine provides. The following images illustrate both their radiant spiritual presence, and the trace of a material boundedness.
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Savisaar, Remo. "Animal behaviour // Comportamiento animal." Ecozon@: European Journal of Literature, Culture and Environment 6, no. 1 (March 9, 2015): 170–74. http://dx.doi.org/10.37536/ecozona.2015.6.1.646.
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Nature photography has many different categories: there’s no easy or hard one. One might think that taking photos of animals is harder than, for example, doing landscape photography. But all the best photography goes beyond mere documentation to overlay the moment with the artistic vision of the photographer. In the end, knowledge of subject, field craft, approach, patience (a lot of patience), composition and technical ability with the camera are all that matters. We nature photographers search for special moments which sometimes last only for brief seconds. These can be rarely seen moments of light on the landscape, the interesting behaviour of an animal or just the beauty of simplicity. Not every place or moment offers a perfect photographic opportunity. We have to keep on looking, searching, studying. And when the right moment occurs we have to be prepared for it, which means pretty often we have THAT picture in our mind long before we finally see it happen. From over ten years in wildlife photography I have found some fields to be my favourites. Animal behaviour is one of those which offer me most satisfaction. All the following pictures you see here can be placed in that category. More of my work can be seen in my daily blog (blog.moment.ee). Resumen La fotografía de la naturaleza se divide en muchas categorías, no existe ni una fácil ni una difícil. Uno puede pensar que hacer fotos de animales es más difícil que, por ejemplo, hacer fotografía del paisaje. Pero la mejor fotografía va más allá de la mera documentación hasta recubrir el momento con la visión artística del fotógrafo. Al final, el conocimiento del tema, la destreza, el enfoque, la paciencia (mucha paciencia), la composición y la habilidad técnica con la cámara son todo lo que importa. Los fotógrafos de la naturaleza buscamos momentos especiales que a veces sólo duran unos segundos. Estos momentos pueden ser instantes de luz en el paisaje raramente vistos, el comportamiento interesante de un animal o simplemente la belleza de la simplicidad. No todos los lugares o los momentos ofrecen una oportunidad fotográfica perfecta. Tenemos que seguir mirando, buscando, estudiando. Y cuando el momento adecuado ocurre tenemos que estar preparados, lo que significa que a menudo tenemos ESA imagen en nuestra mente mucho antes de que la veamos ocurrir. En cerca de diez años de fotografía de la vida salvaje he encontrado algunos campos que se han convertido en mis favoritos, dentro de los que se enmarcan las fotografías que pueden verse en esta revista. Puede verse más de mi trabajo en mi blog (blog.moment.ee).
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Durusoy, Murat. "In-Game Photography: Creating New Realities through Video Game Photography." Membrana Journal of Photography, Vol. 3, no. 1 (2018): 42–47. http://dx.doi.org/10.47659/m4.042.art.
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Computers and photography has had a long and complicated relationship throughout the years. As image processing and manipulating capabilities advanced on the computer front, photography re-birthed itself with digital cameras and digital imaging techniques. Development of interconnected social sharing networks like Instagram and Twitter feeds the photographers’/users’ thirst to show off their momentaneous “been there/seen that – capture the moment/share the moment” instincts. One other unlikely front emerged as an image processing power of the consumer electronics improved is “video game worlds” in which telematic travellers may shoot photographs in constructed fantasy worlds as if travelling in real life. While life-like graphics manufactured by the computers raise questions about authenticity and truthfulness of the image, the possible future of the photography as socially efficient visual knowledge is in constant flux. This article aims to reflect on today’s trends in in-game photography and tries to foresee how this emerging genre and its constructed realities will transpose the old with the new photographic data in the post-truth condition fostering for re-evaluation of photography truth-value. Keywords: digital image, lens-based, photography, screenshot, video games
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Lessard, Bruno. "The Refracted Moment: Photographing Chinese History in the Making." Journal of Chinese Humanities 1, no. 1 (April 24, 2014): 170–93. http://dx.doi.org/10.1163/23521341-01010009.
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Abstract This article examines the way in which both Western and Chinese photographers have documented Chinese history in the making by focusing on the photographic documentation of two key events in the formation of Chinese society: the 1911 Revolution that laid the foundation for the birth of the republic and the “energy revolution” that was the Three Gorges Dam project (1994-2012). The major difference between the two revolutions is that the latter was documented by the Chinese themselves. No longer relying upon images made by Westerners exclusively, as was the case in 1911, the Chinese appropriated this monumental event in their history to archive it photographically. The article offers a conceptual framework for understanding revolutionary events in the context of historiography and photography history. The analysis of various photographs of the 1911 Revolution by Francis Stafford and of the Three Gorges Dam project and area by Edward Burtynsky, Bill Zorn, Zeng Nian, and Yan Changjiang shows that the event remains an evanescent and quasi-impossible entity to capture photographically, and that photographers can only archive its refracted presence in the faces, landscapes, and objects in front of the lens. What the pictures unveil is that the refracted moments of these two events are far more significant than the actual events themselves for the photographers under study.
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Steciąg, Magdalena, and Anna Karmowska. "Lingua Materna, Lingua Receptiva, Lingua Franca, Multilingua Franca? The Linguascape of the Polish-Czech Borderland from the Perspective of Sustainable Multilingualism." Sustainable Multilingualism 16, no. 1 (May 1, 2020): 21–38. http://dx.doi.org/10.2478/sm-2020-0002.
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SummaryAs statistical surveys show, both Poland and the neighbouring Czech Republic are single-ethnic and highly monolingual countries. The observation of the linguistic landscape of the Polish-Czech borderland suggests, however, that the display of common natural heritage is conducive to weakening monolingualism and the development of multilingual practices instead. The hypothesis is being checked in a comparative analysis of the linguistic landscape of two picturesque locations - Czech Adršpach and Polish Karłów where a lot of natural sights in the form of rocks can be found. The case study proves that different languages and communication modes are used to describe these attractions: lingua materna, lingua receptiva, and global or regional lingua franca. The research material includes 211 signs photographed in the Rock City in Adršpach and 283 signs photographed at local tourist attractions near Karłów, namely, on the Szczeliniec Wielki mountain peak and in the Błędne Skały area. The analysis covers both the language hierarchy as well as the specific multilingual character of information signs which refer mainly to the rock objects. The selected photographs are presented in the paper in the attempt to illustrate the particular linguistic practices in examples. The research is based on the assumption of applied ecolinguistics that the diversity of languages should be maintained through appropriate language policy and other activities supporting the preservation of the linguistic and natural heritage. This perspective might shed a new light on the moment of transition from the monolingual paradigm to more open and sustainable multilingual practices in the linguistic landscape of Polish-Czech borderland.
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Nestayko, Markiyan. "Photos of Levko Yanushevych on the pages of Ukrainian magazines." Proceedings of Research and Scientific Institute for Periodicals, no. 10(28) (January 2020): 362–75. http://dx.doi.org/10.37222/2524-0331-2020-10(28)-26.
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The article studies the activities of one of the famous Ukrainian photographers of the XX century — Levko Yanushevych in the field of photography. We have systematized and characterized the artist’s photographs on the pages of Ukrainian and foreign (for Ukrainian emigrants) periodicals of the XX century, specifically, «Dilo», «Nashi Dni», «Nova Khata» (all titles in Lviv), «Kholms’ka zemlya» (Krakow), «Ukrainskyi visnyk», «Holos» (both in Berlin), «Na slidi» (Augsburg). The process of shaping Yanushevych’s creative personality via a prism of public activity and cooperation with famous figures is analyzed. The significant contribution of the photographer to the preservation of important facts and information about the Ukrainian intelligentsia of that time is revealed. Levko Yanushevych appears in the general picture of the XX century not only as a photojournalist of the cultural life of Ukraine, but also as an active participant in the processes taking place at the background of art. This is evidenced by articles, interviews and memoirs left by Yanushevych in local magazines. His popularity at that time is confirmed by publications in foreign editions made by efforts of the Ukrainian émigrés. Levko Yanushevych’s photographs are stored in the archives of the V. Stefanyk Institute of Library Art Resources Research of the Vasyl Stefanyk National Scientific Library of Ukraine in Lviv. They are not accessible in some magazines. The personality of this photographer is quite interesting not only in terms of his professionalism and famous works, but also as a cultural and public figure. His photo portraits are still stored on the pages of the Ukrainian General Encyclopedia. His photographs of landscapes and architectural masterpieces of the Ukrainian cities of the late XIX and early XX centuries help to plunge into the past. However, information about the photographer is very scarce, and there is no study of his work. In the mentioned press archives in 1920s, 1930s and 1940s, as well as some authorial articles available on the Internet were found about 50 photographs of the artist. We analyzed and systematized images by genre groupings. The article also covers a range of issues related to the origin and existence of photography in the 19-20th century, the main figures of the time, photo studios and vocational schools of Ukrainian photography. The findings of our research show trends in photography relevant in a perspective of the 21st century were experienced by professionals and amateurs in the past. Capturing information, transmitting emotions and feelings, preserving architectural monuments, landscapes, recording important moments in the lives of relatives or prominent people, coding or symbolism were important stages in the evolution of photography. Keywords: Levko Yanushevych’s photos, Ukrainian photographer, Ukrainian magazines, photography.
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Zuhdan Aziz. "Dramatization of Visual Communication Messages In Macro Photographic Genre." IICACS : International and Interdisciplinary Conference on Arts Creation and Studies 3 (April 7, 2020): 154–73. http://dx.doi.org/10.33153/iicacs.v3i1.30.
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Photographic art is a mediator to convey visual communication messages to the public about a thing or event. Photos can be interpreted as expressions or ways of speaking, telling through visual language. The selection of the exact object, accuracy of the exact moment, accurate angle, advanced exposure of the light, and the beautiful color composition make photography look attractive, thus making the audience of photography immersed in the role created by the photographer using photographical object. Photographic works published on web-page macroworldmania.com are mostly, macro photography works, exploring macro world surround human life. Macro photo objects could reflect on to photographs of small animals, insects, plants or other small objects, which at first were not visible to the naked eyes. Not just technical, in the macro photography work that is displayed on the webpage, but those photographs also contained innovative messages with narrative stories and sparks of the dramatization that are conveyed, so that they appear more attractive. The demonstration of messages or narratives in this story becomes the essence of visual communication in macro photography. The dramatization displayed in the macro photography works on this page is able to provide an image of an animal or plant object or a small object, not only becoming bigger and easier to see, but also full of surprises, attracting attention and arousing curiosity. Dramatization arises if the object image has a point of interest (POI) and attention is always maintained so that the work created is able to drown the soul, emotions and thoughts of the audience. Dramatic elements built with the innovations of macro photography story messages are able to seize the attention and bring an atmosphere of high-quality communication in reference to the knowledge and experience of the audience. The challenges of these innovations are the main study of this research, so that the art of macro photography can still exist to communicate in the digital era marked by abundance of information (disruptive information).
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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.
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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.
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Chatterjee, Debangana. "Globalization and the Politics of Photographic Representation: Essentializing the Moments of Agony." Jadavpur Journal of International Relations 22, no. 2 (July 8, 2018): 167–88. http://dx.doi.org/10.1177/0973598418782745.
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Prima facie photographic representations are reproducing reality, though in most of the cases they are artificially created and subjectively interpreted. Focusing on photography as a form of visual representation, the article argues that globalization as a process accelerates this agenda of photography. This article aims at exploring the cultural penetration of globalization through contemporary visual bombardments. The modern capitalist intervention has made globalization even more pregnable to the grassroots of everyday life. In this way, globalization creates stereotypical visual and cultural representations of the feminized societies. People belonging to these societies not only remain at the fringes but also are sympathized from an orientalist perspective. Two-fold questions remain relevant here. First, how does the politics of essentialization take place through photographic representation of feminized societies? Second, how is globalization at work for the creation of these visual images in a manner that in turn strengthens its own bio-power? The article, thus, engages in the exposition of the photographic representation by connecting its theoretical implications with the larger picture of globalization. It picks up some of the widely circulated photographs of the ‘backward’ Third World countries around the world as illustrative instances and shows how these photographs capture the phenomenon of essentialization reflecting a common narrative of suffering.
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Sanuki, Keisuke, and Taro Fujikawa. "Motion Analysis of Butterfly-Style Flapping Robot Using CFD Based on 3D-CAD Model and Experimental Flight Data." Journal of Robotics and Mechatronics 33, no. 2 (April 20, 2021): 216–22. http://dx.doi.org/10.20965/jrm.2021.p0216.
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In this paper, a computational fluid dynamics (CFD) analysis system based on a 3D-CAD model of a butterfly-style flapping robot using its experimental flight data is proposed. The butterfly-style flapping robot can control its attitude by changing its flapping and lead-lag angles; however, measuring the lift, thrust, and body pitch moment directly during flight is difficult. In the case of the flight motion analysis of insects, the state of flight has been photographed, and numerical analysis has been performed to obtain the flow field around the wings. However, when performing the motion analysis of hardware, it is difficult to reflect the shape of the body accurately using this method. In this study, a CFD analysis system considered the shape of the developed butterfly-style flapping robot as 3D-CAD data and analyzed the flow field around the wings using the experimental flight data of the hardware. The results of motion analysis showed that the attitude during flight differs due to the difference in lifts and body pitch moments in the flight experiment data of the hardware with different neutral angles of the flapping wings.
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Ferraris, Maurizio. "From Fountain to Moleskine." Brill Research Perspectives in Art and Law 2, no. 4 (April 23, 2019): 1–87. http://dx.doi.org/10.1163/24684309-12340006.
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AbstractPhotography was invented in the mid-nineteenth century, and ever since that moment painters have been asking what they are there for. Everyone has their own strategy. Some say they do not paint what is there, but their impressions. Others paint things that are not seen in the world, and therefore cannot be photographed, because they are abstractions. Others yet exhibit urinals in art galleries. This may look like the end of art but, instead, it is the dawn of a new day, not only for painting but – this is the novelty – for every form of art, as well as for the social world in general and for industry, where repetitive tasks are left to machines and humans are required to behave like artists.
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Horta, Paula. "When the Landscape of the Face is Hidden from Us." Grimace, Vol. 2, no. 1 (2017): 68–71. http://dx.doi.org/10.47659/m2.068.art.
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How do we respond to the vulnerability of the Other when we do not see his face? How do photographer and viewers position themselves ethically in relation to the (hi)story of suffering they are called to witness? These are the questions that steer my reflection about Jillian Edelstein’s unpublished photograph of Archbishop Desmond Tutu. Taken shortly after the South African Truth and Reconciliation Commission (TRC) completed its work, the photograph evokes the moment during the TRC hearings when the Archbishop, Chairman of the commission, laid down his head and wept. Drawing on Emmanuel Levinas’s conceptualization of “the face”; I discuss how affect is produced within and through Edelstein’s photograph, and specifically how the affective quality of the photograph both contributes to an understanding of the experience of suffering within the context of the TRC and summons an ethical response from the viewer. Keywords: Desmund Tutu, Emmanuel Levinas, gesture and photography, Jillian Edelstein, photography portrait
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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.
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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.
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Lee, Anthony W. "In the Opium Den." PMLA/Publications of the Modern Language Association of America 125, no. 1 (January 2010): 172–76. http://dx.doi.org/10.1632/pmla.2010.125.1.172.
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Among other things, photographs are deposits of social relations. To put it another way, they are social relations temporarily hardened into images—figured, captured, frozen. The most obvious of those relations, that between the photographer and the sitter, has been a regular subject of inquiry for art history. Acknowledging but leaving that kind of interest aside for the moment, we may explore other sorts of relations in and around a photograph and pursue a line of inquiry more in keeping with visual culture. Here's a quick example.
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Desole, Angelo Pietro. "Conversazione illustrata in Sicilia (1953): una controversia fra Vittorini e Crocenzi." Rivista di studi di fotografia. Journal of Studies in Photography 5, no. 10 (December 14, 2020): 82–99. http://dx.doi.org/10.36253/rsf-12247.
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Originally published in 1941, Elio Vittorini’s Conversazione in Sicilia – probably his most important novel – was republished in 1953 with the inclusion of 169 photographs commissioned to Luigi Crocenzi three years earlier. This new publication was followed by a harsh controversy between the writer and the photographer regarding the authorship of the book. This essay recontructs the dispute – a crucial moment in the definition of Italian photographic culture – through the correspondence held in Vittorini’s and Crocenzi’s personal archives and the ensuing comments published in the media.
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Socolovsky, Maya. "The Homelessness of Immigrant American Ghosts: Hauntings and Photographic Narrative in Oscar Hijuelos's The Fourteen Sisters of Emilio Montez O'Brien." PMLA/Publications of the Modern Language Association of America 117, no. 2 (March 2002): 252–64. http://dx.doi.org/10.1632/003081202x61980.
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Cuban American literature and Oscar Hijuelos's texts in particular have generally been approached through a consideration of their material, multicultural aspects. This essay analyzes Hijuelos's The Fourteen Sisters of Emilio Montez O'Brien, on which there is little critical work, by combining the novel's descriptions of photography and immigrant experiences with theories of photography. My reading considers the placing of ghosts and memory in the narrative and problematizes the undialectical presence of death in it. Referring to Hijuelos's text as an “imagetext” (photographs exist in it only through descriptions, never appearing visually), I read it through Roland Barthes's Camera Lucida and his development of the wounding punctum of a photograph, which produces a melancholy lingering trace of the past in the present moment. In this reading, the immigration experience in Hijuelos's novel exceeds narrativization and is unrepresentable by it.
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Wicks, Frank. "Picture This." Mechanical Engineering 126, no. 07 (July 1, 2004): 32–35. http://dx.doi.org/10.1115/1.2004-jul-3.
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This article highlights that the adage, a picture is worth a thousand words, is a flawed understatement. Our memories, knowledge, and opinions rely heavily on pictures. Words can only provide an explanation to information contained in a good picture. Time always moves forward, but a picture allows us to look back to some prior moment in time. Photography, which means writing with light, would require replacing the artist’s paper with a chemically coated screen, exposing the screen to the image, and then stabilizing the resulting picture. The first practical photographic process was announced in France in 1839 by Louis Daguerre, who had achieved fame as a designer of theater stages and lighting effects. George Eastman built a magnificent Colonial Revival Mansion on East Avenue in Rochester in 1905. It is a National Historic Landmark and is chartered by the State of New York as the International Museum of Photography and Film. It displays a rare collection of photographs, cameras, projectors, books, and motion pictures.
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Roychoudhuri, Ranu. "Documentary Photography, Decolonization, and the Making of “Secular Icons”: Reading Sunil Janah’s Photographs from the 1940s through the 1950s." BioScope: South Asian Screen Studies 8, no. 1 (June 2017): 46–80. http://dx.doi.org/10.1177/0974927617717898.
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Through historicizing photographs made by celebrated Indian photographer Sunil Janah (1918–2012), this paper will elucidate the ways in which Janah created “secular icons” of historical moments during India’s passage from the colonial to the postcolonial. I will primarily focus on two sets of Janah’s photographs: the first set is from the 1940s, and centers on the Bengal Famine of 1943, communal violence, and the displacement of population before and after the partition of 1947, while the second set is from the 1950s, and emphasizes in particular photo-documentations of independent India’s industrial growth during the first two five-year plans. Contrast between these two sets will focus on two distinct ways of becoming iconic, while also highlighting the politics of revival/retrospection and the ways in which particular genres of photographs are memorialized, while others remain relatively unknown. Later day viewers of Janah’s photographs have seen only the political import of his pre-independence photographs of the Bengal Famine (1943) and the post-Partition mass exodus, while I argue for a seamless continuity between Janah’s pre-Independence social-documentation and post-independence industrial photography. I further contend that Janah’s photographs were material traces of an indubitable reality that embodied and at the same time exceeded their ideological message.
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Wall, Gina. "Writing the world: photographing the text of the landscape." Excursions Journal 1, no. 1 (September 12, 2019): 123–42. http://dx.doi.org/10.20919/exs.1.2010.131.
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I am engaged in a practice led thesis, which has been challenged and shaped by thinkers in the fields of critical theory and philosophy. Although I work in dialogue with these theorists, I am principally a visual practitioner who is most at home with traditional, wet process photography.I began with a general concern regarding my own resistance to landscape photography as the depiction of the view, which has led me to question the persistence of the (illusion of) the unified photographic moment. My visual process, which began quite simply as a reaction against the pervasiveness of the view in photography, has, in dialogue with writers such as Ferdinand de Saussure, Roland Barthes, Jacques Derrida and Rosalind Krauss, enabled me to theorise my own photographic practice as a form of writing. Central to this has been the investigation of different theoretical configurations of the semiotic sign.I contend that Rosalind Krauss’ conception of Surrealist photography as a practice of écriture, in fact accounts for photographic practice more broadly speaking. The spacing of the photographic sign, which Krauss describes as an ‘invagination of presence,’ defers the confluence of the signified and the signifier thus rupturing the illusion of presence in the photographic moment: the shutter differences the image from the world and the practice of photography reconfigures the world as a form of writing. However, not simply in the sense of a surface inscribed by light, but writing as a space in which the possibility for meaning is realised.
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Vågnes, Øyvind. "A day in history: Andrea Gjestvang’s 22 July photographs." Journal of European Studies 47, no. 4 (October 24, 2017): 359–71. http://dx.doi.org/10.1177/0047244117733911.
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Combining photographic portraits and testimony, Andrea Gjestvang’s En dag i historien: 22. juli concerns the experiences and thoughts of 43 young people who survived the terror attack at the Labour Party youth camp on Utøya Island, outside Oslo on 22 July 2011. Published the year after the events, the book captures a moment in time in which memories of what happened were still very raw, and the various attempts at commemoration in diverse cultural forms were yet to be conceived of, and subsequently contested. Drawing on recent writings on photography (by Ariella Azoulay, Robert Hariman and John Lucaites, Susie Linfield and John Roberts) as well as an interview with photographer Andrea Gjestvang, this article is an attempt to come to terms with how the ‘image-text’ in En dag i historien invites a form of committed spectatorship that unfolds over time.
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Irala-Hortal, Pilar. "La imagen como terapia = Image as therapy." REVISTA ESPAÑOLA DE COMUNICACIÓN EN SALUD 9, no. 2 (December 18, 2018): 237. http://dx.doi.org/10.20318/recs.2018.4502.
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Resumen: Cuando hablamos de fotografía solemos pensar en la captación de un momento o acontecimiento, probablemente caracterizado por breves impases de clímax y con una trascendencia cultural, social, artística o política. Bien se trate de fotografía artística o documental, tanto fotógrafos como historiadores o teóricos hemos abordado la imagen desde el enfoque de la preservación de un momento. En este caso la fotografía es un conservador de la memoria. Pero la fotografía puede cumplir otras funciones como la de ahondar, profundizar, extraer y exorcizar conocimientos o sentimientos íntimos con una finalidad terapéutica. No es baladí este poder de la imagen que ha sido contrastado en diferentes proyectos tanto médicos como sociales. El presente artículo tiene el objetivo de exponer qué es la fotografía terapéutica y cuáles son sus ámbitos de aplicación.Palabras clave: fotografía; enfermedad; terapia; cultura visual.Abstract: When we talk about photography, we are usually thinking of capturing one single moment. That event is probably characterized or classified by a cultural, social, artistic or political culture. Whether it is artistic or documentary photography, photographers, historians or theorists have thought the image as a visual conservator of our memory. However, photography can play other functions or roles such as deepening, extracting and exorcizing knowledge or profound feelings for therapeutic purposes. This is not a small power. In addition, this role of the image has been contrasted by different projects both medical and social. The purpose of this paper is to explain what the therapeutic photography is and what its scope of application is.Keywords: photography; illness; therapy; visual culture.
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Linden, Liz. "Women with Cameras." Camera Obscura: Feminism, Culture, and Media Studies 34, no. 2 (September 1, 2019): 195–207. http://dx.doi.org/10.1215/02705346-7584964.
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The essay looks at photographs from American photographer Anne Collier’s ongoing series Woman with a Camera (2006–). The essay argues that Collier’s series anticipates and “invents” the selfie by using anachronistic found materials. A number of Collier’s works in Woman with a Camera depict printed matter from the postmodern period that include photographs of female models posed as if they are shooting playful selfportraits in a mirror, acting as if they are themselves the photographer. Taking Collier’s work as evidence, this essay asks questions about how and why the selfie is so specifically positioned as an artifact of our contemporary moment in technology and culture, addressing some of the more widely held assumptions about selfies and selfie culture today.
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Shah, Chinar. "The Execution of Bin Laden in Images." Cabinet, Vol. 2, no. 2 (2017): 98–101. http://dx.doi.org/10.47659/m3.098.art.
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The photo essay illustrates the politics of missing visuals from the public domain and analysis of the artist’s book Bin Laden Situation Room. The book is a reaction to the photograph issued on 2 May 2011 by the American government at the time of Bin Laden’s execution. The image taken by the official White House photographer Pete Souza, depicts president Barack Obama and his national security team witnessing the execution of Osama Bin Laden, the leader of the Islamic militant organization, al-Qaeda. Apart from this the American government did not issue any other visual evidence of the event. The essay explores war strategies of keeping the visuals mute, and in doing so, controlling the public opinion. Photography that prides itself on representing and uncovering historical moments, completely fails here. The book Bin Laden Situation Room, attempts to look for what the image fails to show. The essay examines the visibility and invisibility of frames of references and power to see and not see. Keywords: Bin Laden, missing images, photo book, photography, situation room
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Raza, Syed Sami. "“Divine Violence” After the Kharotabad Killings." Review of Human Rights 1, no. 1 (December 15, 2015): 4–11. http://dx.doi.org/10.35994/rhr.v1i1.68.
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In 2011 the law enforcement agencies of Pakistan killed a group of foreigners traveling across Pakistan-Afghanistan border. The agencies then tried to cover up the incident by calling it a potential suicide-bombing attack. However, they could not succeed in the cover-up plan primarily due to a photograph of one of the killed aliens—a woman—that appeared on local media. In this photograph the alien woman is shown lying on the ground near a sandbag-covered check-post waving for mercy/justice. The photograph becomes viral on both electronic news and social media and impels the government to order an inquiry. In this article, I engage the concept of “divine violence” and explore the photograph’s politics of aesthetics, which I argue contextualizes the photograph’s meaning during a creative moment for human rights.
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París Romia, Gemma. "Arte como Simulacro de una Realidad Lejana en la Obra de Gerhard Richter." Barcelona Investigación Arte Creación 8, no. 2 (June 3, 2020): 101. http://dx.doi.org/10.17583/brac.2020.3580.
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This paper investigates the links that the artist Gerhard Richter establishes between photography and painting throughout his artistic career, initiated on 60ths. Since then, Richter's goal has been to build images, whether pictorial or photographic, whether blurry or sharp, geometric, abstract or figurative. The world that Richter paints is made up of banal situations, by anonymous people, by familiar landscapes, and that makes us feel comfortable as spectators, because it seems that Richter is creating a file of known places, moments with which we can connect from our subjectivity. Most part of the images are blurry, so Richter is not painting photographs, but that he is building images, from photography and through painting. The richness of his artistic process is his position between photography and painting, between figuration and abstraction, between the subjective and the collective. Richter creates an extensive and varied register of different types of images, which are part of our everyday universe. Richter build those images on painting them or on collecting them, creating a simulated reality, a vast and aesthetic archive where we can find ourselves reflected, interrogated, seduced. The archive of images by Gerhard Richter invites us, in fact, to ask ourselves about our relationship with the world and with its representations.
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Lee, Gyeoungrok, Dongwann Kang, and Kyunghyun Yoon. "Human Emotional Care Purposed Automatic Remote Portrait Drawing Generation and Display System Using Wearable Heart Rate Sensor and Smartphone Camera with Depth Perception." Journal of Sensors 2018 (August 2, 2018): 1–14. http://dx.doi.org/10.1155/2018/6161978.
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We propose a system that automatically generates portrait drawings for the purpose of human emotional care. Our system comprises two parts: a smartphone application and a server. The smartphone application enables the user to take photographs throughout the day while acquiring heart rates from the smartwatch worn by the user. The server collects the photographs and heart rates and displays portrait drawings automatically stylized from the photograph for the most exciting moment of the day. In the system, the user can recall the exciting and happy moment of the day through admiring the drawings and heal the emotion accordingly. To stylize photographs as portrait drawings, we employ nonphotorealistic rendering (NPR) methods, including a portrait etude stylization proposed in this paper. Finally, the effectiveness of our system is demonstrated through user studies.
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Soliman, Alia. "An Encounter with an Image: Humberto Rivas in Madrid, 2018–2019." CounterText 6, no. 1 (April 2020): 196–203. http://dx.doi.org/10.3366/count.2020.0188.
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Alia Soliman's piece is prompted by the shock of arrest before an image taken by the Argentinian photographer Humberto Rivas. That arrest yields to the keenly felt play of memory and association, both in the moment of the photograph's immediate impact and subsequently. The result is a memoiristic piece that also works as a personal essay on time, loss, and the feeling of saudade.
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Vollgraff, Matthew. "The Archive and the Labyrinth: On the Contemporary Bilderatlas." October 149 (July 2014): 143–58. http://dx.doi.org/10.1162/octo_a_00187.
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The indexicality of photography has by now become a theoretical common-place: The photographic image presents us with the punctual index of a given “scene” at a specific moment. That scene is situated in an irretrievable past, its referents irrevocably displaced in time and space; indeed, the indexical image points ineluctably to something no longer extant.
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Ahrens, Prue. "Henry Adams in Tahiti." Journal of New Zealand & Pacific Studies 8, no. 1 (May 1, 2020): 23–37. http://dx.doi.org/10.1386/nzps_00013_1.
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While touring Tahiti in 1891, the American historian Henry Adams compiled an album of large-scale photographic prints that he purchased from commercial studios in Papeete. Souvenir album making was a popular pursuit amongst nineteenth-century Euro-American travellers who used the opportunity to project, validate and narrate desired travel experiences. Unlike others, Adams’s album is seemingly random and banal and lacks any clear narrative. This article attempts to make sense of Adams’s album. It asks to what extent the photographs performed their common function and validated Adams’s experience and expectations of Tahiti. It questions what the album reflects of Adams’s background, tastes and position in the islands as an elite traveller. It considers what was available for Adams to purchase from Papeete’s commercial studios, businesses that traded at a key moment in Tahiti’s complex colonial history. This article suggests that the album is a site where Adams’s desires and despair in colonial Tahiti overlap and contradict. Ultimately, it is a sign of his disappointment in photography as a medium incapable of capturing his island experiences.
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Supartono, Alexander, and Alexandra Moschovi. "Contesting colonial (hi)stories: (Post)colonial imaginings of Southeast Asia." Journal of Southeast Asian Studies 51, no. 3 (September 2020): 343–71. http://dx.doi.org/10.1017/s0022463420000508.
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This article seeks to explore the impact of digital technologies upon the material, conceptual and ideological premises of the colonial archive in the digital era. This analysis is pursued though a discussion of creative work produced during an international, multidisciplinary artist workshop in Yogyakarta, Indonesia, that used digital material from colonial photographic archives in the Netherlands to critically investigate the ways national, transnational and personal (hi)stories in the former colonies in Southeast Asia have been informed and shaped by their colonial past. The analysis focuses on how the artists’ use of digital media contests and reconfigures the use, truth value and power of the colonial archive as an entity and institution. Case studies include: Thai photographer Dow Wasiksiri, who questions the archive's mnemonic function by substituting early twentieth-century handcrafted association techniques with digital manipulation; Malaysian artist Yee I-Lann, who compresses onto the same picture plane different historical moments and colonial narratives; and Indonesian photographer Agan Harahap, who recomposes archival photographs into unlikely juxtapositions disseminated through social media. By repurposing colonial archival material and circulating their work online such a re-imag(in)ing of Southeast Asia not only challenges the notions of originality, authenticity, ownership and control associated with such archives, but also reclaims colonial-era (hi)stories, making them part of a democratic, expanding, postcolonial archive.
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Gómez Cruz, Edgar, and Eric T. Meyer. "Creation and Control in the Photographic Process: iPhones and the emerging fifth moment of photography." Photographies 5, no. 2 (September 2012): 203–21. http://dx.doi.org/10.1080/17540763.2012.702123.
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Sim, Lorraine. "A different war landscape: Lee Miller's war photography and the ethics of seeing." Modernist Cultures 4, no. 1-2 (May 2009): 48–66. http://dx.doi.org/10.3366/e2041102209000458.
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This essay examines the war photography of Lee Miller in terms of the ways it negotiates ethical challenges integral to the visual documentation of war, and the means by which her photography achieves what Susan Sontag terms an “ethics of seeing” (On Photography). In often eschewing, or figuring in unconventional ways, the horrors of war and directing the viewer's attention to typically unprivileged scenes and moments, I argue that the moral tone and sensibility of Miller's war photography is a function of her complex engagement with ideas, and the subject matter of, the ordinary and everyday. The essay focuses on two bodies of work: Miller's photographs of London during the Blitz which were published in Britain and America in 1941 in the book Grim Glory: Pictures of Britain Under Fire, and some of the photographs she took on the Continent when working as a U.S. accredited war correspondent for British Vogue in 1944 and 1945.
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Shelangoskie, Susan. "Rethinking Propriety in the Age of Instantaneous Photography: E. W. Hornung's Camera Fiend." Victorian Literature and Culture 48, no. 4 (2020): 721–44. http://dx.doi.org/10.1017/s1060150319000196.
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E. W. Hornung's novel The Camera Fiend (1911) imagines a frighteningly extreme vision of photography. This text leverages an existing discourse about the camera fiend—an amateur photographer who intrudes on strangers to capture snapshots of vulnerable moments. I argue that an examination of Hornung's version of the camera fiend, including its conflation with the representation of the scientist, illuminates the logic of threatening liminality and monstrous synthesis in the relationship between photography and existing social conventions. The text also proposes a solution to these cultural fears by repairing social disruptions, but it does so at a cost that is untenable.
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Irwandi, Irwandi, G. R. Lono Lastoro Simatupang, and Soeprapto Soedjono. "SEJARAH SINGKAT STUDIO FOTOGRAFI POTRET DI YOGYAKARTA 1945-1975: SUMBER DAYA MANUSIA, TEKNOLOGI, DAN KREASI ARTISTIKNYA." REKAM: Jurnal Fotografi, Televisi, dan Animasi 11, no. 2 (March 18, 2016): 125. http://dx.doi.org/10.24821/rekam.v11i2.1298.
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Penulisan sejarah fotografi di Indonesia pascakemerdekaan boleh dikatakan masih belum banyak dilakukan. Catatan sejarah yang ada lebih mengarah pada perjalanan fotografi dalam merekam momen pra dan pascakemerdekaan, yang sebagian besar bersumber pada foto-foto dokumen milik IPPHOS (Indonesian Press Photo Service). Ini berarti, masih dibutuhkan penelusuran lebih lanjut guna merekonstruksi sejarah fotografi Indonesia dalam bidang yang lain, studio misalnya. Tulisan ini membahas perkembangan studio foto di Yogyakarta pascakemerdekaan. Hal yang dijadikan fokus utama ialah sumber daya manusia, teknologi, dan upaya-upaya artistik yang dilakukan dalam praktik studio foto masa itu. Penelusuran sejarah dilakukan dengan metode wawancara kepada pemilik studio, praktisi fotografi yang merupakan pelaku dan saksi sejarah studio fotografi pascakemerdekaan. Observasi juga dilakukan guna mengetahui lebih detail tentang upaya-kreatif yang dilakukan pihak studio foto dalam mewujudkan karyanya. Dapat disimpulkan bahwa aspek teknologi memberi pengaruh besar dalam proses perwujudan karya foto studio. Dapat terlihat bagaimana para pelaku usaha studio foto mengatasi keterbatasan teknologi.A Brief History of Portrait Photography Studio in Yogyakarta 1945-1975: Human Resources, Technology and Artistic It’s Creation.Writing the history of photography in the post-independence Indonesia arguably still not been done. The historical record that there are more leads on a photography trip in the pre and post-independence record the moments, which are largely sourced on the photographs of documents belonging IPPHOS (Indonesian Press Photo Service). This means, still needed further investigation in order to reconstruct the history of photography Indonesia in other fields, for example studio. This paper discusses the development of a photo studio in Yogyakarta post-independence. It is used as the primary focus is human resources, technology, and the efforts made in the artistic practices of the past photo studio. Search history conducted by interview to the owner of the studio, photography practitioner who is the perpetrator and witnesses photography studio post-independence history. Observations were also conducted to determine more details about the creative efforts that made the photo studio in realizing his work. It can be concluded that the technological aspects of great influence in the process embodiment studio photographs. It is noticeable how the photo studio business operators overcome the limitations of technology.
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Szente, Dorina. "The Role of School Dances in the First Half of the 20th Century." Tánc és Nevelés 2, no. 1 (February 28, 2021): 106–21. http://dx.doi.org/10.46819/tn.2.1.106-121.
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In the first half of the twentieth century, photography allowed families and groups to capture important moments. In the 1920s and 1930s, cheaper and simpler cameras appeared on the market, which became available to many people. It was the Kodak revolution. The intimate family spaces opened; the everyday life of the schools became visible. The Fortepan visual database is a collection of such photographs taken between 1900 and 1990. As a cultural imprint of the time, the photograph has become a new source for researchers to observe a symbolic world we know little about. The oldest communication medium is the human body, so its movement in space can take cultural anthropological and pedagogical anthropological research to a whole new level. Rituals interarm everyday life, forming a transition between past, present, and future. It creates community, order. School celebrations are a good way to see hidden content that settles social conditions. The research looks at how school dances appeared in the 1920s and 1930s and how school dances changed to different social influences, and what ritual elements appear in them.
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Pabst, Daniel, and Rae Di Cicco. "Untitled (Architectural Photography)." Contemporaneity: Historical Presence in Visual Culture 6 (November 30, 2017): 78–82. http://dx.doi.org/10.5195/contemp.2017.223.
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Daniel Pabst’s architectural photography often highlights the tension between site-specificity and the legacy of early twentieth-century international style. In photographs of diverse sites across the globe, such as Dallas, Texas, St. Petersburg, Russia, and Vienna, Austria, Pabst draws attention to the formal qualities of such architecture hailed for its ability to communicate internationally but inherently tied to particular locations—as reflected in Pabst’s titular conventions. As such, his photographs of buildings, whose functions range from public offices to private residences, and everything between, reveal moments where placeless meets place.
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Kokornaczyk, Maria, Sandra Würtenberger, and Stephan Baumgartner. "Phenomenological Characterization of Low-Potency Homeopathic Preparations by Means of Pattern Formation in Evaporating Droplets." Homeopathy 108, no. 02 (January 9, 2019): 108–20. http://dx.doi.org/10.1055/s-0038-1676325.
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Background Evaporation-induced pattern formation in droplets has been applied to test effects of high potencies. Here we propose for the first time the droplet evaporation method (DEM) as a tool to characterize low potencies on a qualitative and quantitative basis. Materials and Methods The present investigation consisted of: (1) screening of 18 different substances of mineral, vegetal, and animal origin in the 1x to 6x potency range; choice of four substances with characteristic pattern-forming properties; (2) replication experiments aiming at the differentiation of four homeopathic preparations at the same potency levels (2x–6x); and (3) control experiments performed on three preparations. The DEM experimental protocol consisted of the evaporation of droplets of the analyzed potency per se, placed on microscope slides and in controlled conditions. The resulting patterns were photographed and subjected to computerized image analysis. Results The screening experiments yielded a wide variety of patterns. Homeopathic preparations of mineral origin showed the largest variety of forms, whereas potencies of vegetal origin mostly created dendritic patterns, probably due to diffusion-limited aggregation. The here-analyzed image analysis variables (gray-level distribution, entropy, and inverse difference moment) allowed a highly significant differentiation of patterns prepared from four substances (Echinacea, Baptisia, Luffa, and Spongia) at the same potency levels in the range 2x to 4x, whereas patterns obtained from potencies 5x and 6x could no longer be differentiated and resembled the pattern of pure solute (purified water). The control experiments showed reasonable experimental model stability. Conclusions DEM seems to be a promising tool for qualitative phenomenological characterization of homeopathic preparations in low potency. We propose the application of the current experimental model for investigating further research topics in this field, such as the comparison of potencies versus simple dilutions or the contribution of component remedies to the patterns formed by homeopathic combination medicines.
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Walton, Shireen. "Re-Envisioning Iran Online." Middle East Journal of Culture and Communication 8, no. 2-3 (2015): 398–418. http://dx.doi.org/10.1163/18739865-00802012.
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Digital photography and the Internet play important roles in contemporary cultures. They can create semiotic spaces in which ‘local’ imaginaries are projected in ‘global’ frames and cultural representations can be collectively challenged. This article discusses the genre of popular photography and its convergence with the Iranian social web in the form of photoblogs (photography-oriented blogs). It describes how everyday images posted on photoblogs playfully move beyond representative tropes that constitute a visual legacy in contemporary Iran. The findings provide insights into contemporary Iranian online visual-cultural production and develop wider theoretical understandings of the social uses of digital photography, including notions of ‘everyday aesthetics’. The ways in which Iranian photobloggers select, curate, exhibit and manipulate personal digital photographs on their photoblogs are shown to be exemplary of a contemporary ethnographic ‘digital-visual moment’ of popular cultural storytelling, existing at the interface of local and global, as well as actual and virtual publics.
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Wach, Margarete. "Life – Paris Match – Świat: East/West Image Transfer in the Weekly Magazine Świat (1951–1969) and the Impact of the Magnum Style on Photo-Reportage in Poland." International Journal for History, Culture and Modernity 5, no. 1 (March 28, 2017): 101–29. http://dx.doi.org/10.18352/hcm.525.
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Polish photo-reportage of the 1950s and 1960s was crucially shaped by the illustrated weekly newspaper Świat (The World, 1951–1969). The magazine was conceived in the heyday of Stalinism and the socialist realist doctrine to keep pace with its Western counterparts Life, Paris Match or Picture Post during the Cold War. In the new political system, the social role of photography was to agitate, but the photoeditor- in-chief, Władysław Sławny (1907–1991), designed Świat in the style of Henry Cartier-Bresson’s ‘decisive moment’ aesthetics. He published the works of Magnum photographers and other Western colleagues. This article analyzes the massive transfer of knowledge, human resources and photography between Poland and France which flowered in the 1950s. The transcultural exchange was implemented with the aid of personal contacts and editorial practice that promoted photo transfer from the West and corresponded with the atmosphere of the ‘thaw’ after Stalin’s death. It shows that photographers travelled eastwards as well as westwards, and that the Iron Curtain was visually more permeable in both directions than has previously been suggested.
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Barker, Timothy S. "The past in the present: Understanding David Claerbout’s temporal aesthetics." Time & Society 20, no. 3 (November 2011): 286–303. http://dx.doi.org/10.1177/0961463x10375103.
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David Claerbout’s recent video and photographic works generate a distinct temporal aesthetic. In particular, these works experiment with time by situating the historical past not as a discrete moment in time, but rather as an actively engaged part of the present moment. Through the use of digital technologies Claerbout re-presents, experiments with, and opens up time as non-linear and complex, in effect producing a new experience of temporality through a mediation of the past. Using Gilles Deleuze’s concepts of time, informed by Michel Serres’ and Roland Barthes’ work on photography, I explore a theory of time through these artworks in which the past is understood as transpiring within the present, attempting to understand Deleuze’s temporal concepts aesthetically, not just philosophically.
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Nilsson, Maria. "A Faster Kind of Photojournalism?" Nordicom Review 38, s2 (November 28, 2017): 41–56. http://dx.doi.org/10.1515/nor-2017-0413.
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AbstractThis article examines factors influencing the editorial processing of photographs, the impact of photojournalistic practices on those processes as well as perceptions of images. Perspectives on visual gatekeeping and the news value of photographs were applied to a newsroom and interview study with a specific focus on photographs for the main news section of a Swedish newspaper. Findings identified routines, publication formats and resources as key factors, with some challenges posed by mobile publication formats and a focus on routine news. Photo editors were found to have a key function asserting expertise in a shared and interactive process. Yet changing routines and a reduced visual expertise on weekends were found to result in some lower image quality. While the ‘observed moment’ appeared to remain a photojournalistic ideal among visual gatekeepers, there were divergent perceptions found of the current and future functions of the news photograph.
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Gadihoke, Sabeena. "Capturing Stars: Bengali Actresses Through the Camera of Nemai Ghosh." BioScope: South Asian Screen Studies 8, no. 1 (June 2017): 30–45. http://dx.doi.org/10.1177/0974927617701568.
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This essay explores the rich archive of photographer Nemai Ghosh whose production stills on the sets of Satyajit Ray kept his cinema alive in popular memory. While it might appear that Ghosh was overwhelmed by the vision of Satyajit Ray, the essay explores how the documentary impulse in his work created continuity as well as rupture with the cinema of Ray and others in Bengal. Nemai Ghosh’s forte lay in capturing candid moments of actors just before and after filming on the sets. These interstitial moments caught between the vision of the director and the photographer shooting a production still could be used to tease out other deeper meanings about star personas. As we look through Nemai Ghosh’s larger body of work, particularly at images which may not have found public circulation as film stills, we see other kinds of mediations between the photographer, the camera and his subjects. By extricating still frames out of motion, Ghosh’s photographs invite us to contemplate certain tensions between female actors, their roles and their extra cinematic lives. Recollections of these stars are layered by stories, anecdotes and popular myths. In this essay, I explore what it might mean to look back at Nemai Ghosh’s images through the prism of these overlapping memories.
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Gray, Lara Cain. "Magic Moments: Contextualising Cinema Advertising Slides from the Queensland Museum Collection." Queensland Review 18, no. 1 (2011): 73–84. http://dx.doi.org/10.1375/qr.18.1.73.
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The Queensland Museum's eclectic State Collection holds an extensive range of photographic and moving image equipment, as well as a collection of slides and photographs that tells all manner of stories about the history of Queensland. This collection goes back to the earliest technologies, such as daguerreotypes and hand-drawn magic lantern slides, and extends through to a digital image repository. Included in this collection are two captivating series of cinema advertising slides used at the Wintergarden cinemas in Maryborough and Ipswich during the 1940s and 1950s. These slides simultaneously illuminate a history of entertainment and cinema-going, a history of image technologies and the histories of the advertised products and events pertinent to regional Queenslanders at this time.
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McLeod, Douglas M., and Jill A. MacKenzie. "Print Media and Public Reaction to the Controversy Over NEA Funding for Robert Mapplethorpe's “The Perfect Moment” Exhibit." Journalism & Mass Communication Quarterly 75, no. 2 (June 1998): 278–91. http://dx.doi.org/10.1177/107769909807500204.
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In 1989, Robert Mapplethorpe's photographic exhibit The Perfect Moment toured the country with the support of a $30,000 grant from the National Endowment for the Arts. The exhibit, which included several sado-masochistic and homo-erotic photographs, drew the ire of the Reverend Donald Wildmon, who turned to Senator Jesse Helms (R- NC). In the summer of 1989, Congress debated policy toward the funding practices of the NEA, sparking a major controversy in Congress and in the arts community. This study examines media coverage of the controversy and the reaction of the public in terms of museum attendance and the value of Mapplethorpe's art.
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De Boeck, Filip, and Sammy Baloji. "Positing the Polis: Topography as a Way to De-centre Urban Thinking." Urbanisation 2, no. 2 (November 2017): 142–54. http://dx.doi.org/10.1177/2455747117736418.
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Urban living constantly attempts to ‘suture’ the city, finding ways to stitch gains and losses, or pasts and futures together in the moment of the ‘urban now’. De Boeck’s reflection on the complexities of the postcolonial urban world in the Central African locale is shaped around the visual archive that he built up over the past years with photographer Sammy Baloji. This article addresses the possibilities of such a combination of ethnography and photography to de-centre and reframe urban theory and build an alternative urban archive to explore in novel ways what this ‘suturing’, this living and living together, might mean in Central Africa’s urban worlds today.
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Miles, Kate. "Visuality of a treaty: reflection on Versailles." London Review of International Law 8, no. 1 (March 1, 2020): 7–41. http://dx.doi.org/10.1093/lril/lraa009.
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Abstract This article revisits one moment in international law through the prism of visual culture, analysing paintings, photographs and political cartoons of the signing of the Treaty of Versailles. It considers the historical representation of treaty-making, narratives of international law as beneficent universal regulator and spectacle, and the projection of ‘successful’ international law through image. It reflects on photographs that capture working, ‘behind-the-scenes’ moments and portrayals of a more agitated, restless visual international law. And it explores the idea that visuality contributes to the construction of international legal reality and is a specific site of meaning for our understanding of treaty-making at Versailles.