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Journal articles on the topic 'Photographes – Sociologie'
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1
Maresca, Sylvain. "Photographes : sociologie d’une profession mal connue." Cahier Louis-Lumière 7, no. 1 (2010): 9–17. http://dx.doi.org/10.3406/cllum.2010.926.
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Léon, Véra. "La querelle des photo-filmeurs." Photographica, no. 2 (May 3, 2021): 130–46. http://dx.doi.org/10.54390/photographica.468.
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À la fin des années 1940, les photo-filmeurs se multiplient dans les rues des villes, photographiant les passants pour leur vendre leurs portraits. Or cet essor est combattu tant par les syndicats de photographes établis, qui considèrent ces nouveaux venus comme des concurrents déloyaux, que par les pouvoirs publics qui font surveiller leurs activités par la police. À partir d’une étude de cas, cet article analyse les enjeux du conflit et brosse le portrait des acteurs incriminés. En articulant différentes échelles d’analyse, de la trajectoire individuelle à la stratégie collective, des mesures locales aux débats nationaux, il montre que cette querelle est au cœur d’une redéfinition du groupe des photographes : elle est un marqueur de la mutation de leur fonction sociale, économique et symbolique. Enfin, la démarche, croisant histoire sociale et sociologie du travail, met en évidence la dynamique de professionnalisation instiguée par les syndicats, en même temps que son échec. Malgré ces tentatives, les délimitations du groupe des photographes professionnels restent poreuses en France, et ce jusqu’à aujourd’hui.
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Bojanić, Sanja, Jelena Ćeriman, and Sara Nikolić. "Upotreba foto-elicitacije u sociologiji." Revija za sociologiju 53, no. 3 (December 31, 2023): 429–57. http://dx.doi.org/10.5613/rzs.53.3.4.
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In sociological research, photography is most commonly used to supplement presented data and less frequently as a data collection technique. This paper focuses on using photography to examine the gender aspect of poverty in rural areas of Serbia. Through the application of photo-elicitation, data were collected in field research during 2015 in Serbia. The data include photographs taken by girls and women beneficiaries of social services. Additionally, they incorporate the notes on the motives and interpretation of the photographs taken, along with transcripts of interviews conducted with the photographers a month after the photography sessions. The research has shown that photography, as a medium, connects the emotional experiences of poverty among research participants with the factual conditions of their lives in material deprivation and isolation. Consequently, it offers the possibility of articulating diverse meanings of poverty. The diversity of meanings of poverty is evident in the specific social categories to which the interviewees in this study belong, such as persons with disabilities, for example. Based on the findings of this research, the use of photo-elicitation emerges as particularly significant in sociological studies that involve the exploration of subjective meanings and experiences of specific population groups, such as girls and women living in poverty in rural areas of Serbia.
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Robbins, Derek. "Gazing at the Colonial Gaze: Photographic Observation and Observations on Photography Based on a Comparison between Aspects of the Work of Pierre Bourdieu and Jean-Claude Passeron." Sociological Review 57, no. 3 (August 2009): 428–47. http://dx.doi.org/10.1111/j.1467-954x.2009.01848.x.
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The paper was provoked by viewing various selections of the photos taken by Bourdieu in Algeria in the late 1950s and early 1960s. The paper is divided into two parts. The first part considers three stages in the production and consumption of Bourdieu's photos. The possibility that the third of these stages – the gallery display of Bourdieu's photos in the present – might be a betrayal of the sociology of photography and of art galleries that Bourdieu attempted in the 1960s leads to the discussion of the second part of the paper. Part 2 first contextualises the work on photography undertaken within the Centre de Sociologie Européenne in the early 1960s and then, secondly, discusses the emergence of divergent sociologies of photography in the work of Bourdieu and Passeron. The purpose of the discussion is to ask which of the theories of photography which developed in association with Bourdieu's photographic activity now enables us better to respond to Bourdieu's photographic products.
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Fox, Paul. "An unprecedented wartime practice: Kodaking the Egyptian Sudan." Media, War & Conflict 11, no. 3 (July 13, 2017): 309–35. http://dx.doi.org/10.1177/1750635217710676.
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This article examines Kodak photographs made by participant soldiers and photographer–correspondents working in the field for the illustrated press during the concluding phase of the 1883–1898 campaign to defeat an Islamist insurgency in the Egyptian Sudan, whose leaders sought to create a regional caliphate. It explores how the presence of early generation portable cameras impacted on image making practices on British operations, and how aspects of campaign experience were subsequently represented in Kodak-derived photograph albums. With reference to graphic art and commercial photographic practices associated with Nile tourism and recent military activity in the Nile valley after 1882, the author argues, firstly, that the representation of combat was transformed by handheld photography and, secondly, that in the context of photographs of logistical activity and leisure, picturesque aesthetics were occluded by a ‘documentary’ mode of representation synonymous with the increasingly industrial nature of Western armed conflict. The article also calls attention to how photomechanical reproduction made possible the widespread availability of affordable albums for a public here identified as the readership of the illustrated general interest weeklies. More generally, the sheer number of photographs resulting from the use of Kodak technology prompted a more fluid use of montage-like techniques by album makers, for public and private use, including text and multiple image combinations, to build more dynamic visual narratives of experience on campaign than had hitherto been possible.
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Ensel, Remco. "Dutch Face-ism. Portrait Photography and Völkisch Nationalism in the Netherlands." Fascism 2, no. 1 (2013): 18–40. http://dx.doi.org/10.1163/22116257-00201009.
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This article takes its cue from an essay by Gerhard Richter on Walter Benjamin and the fascist aestheticization of politics. It examines the portrait photography of Dutch photographer W.F. Van Heemskerck Düker, who was a true believer in the ideology of a Greater Germany. He published a number of illustrated books on the Dutch Heimat and worked together with German photographers Erna Lendvai-Dircksen and Erich Retzlaff. When considering what type of photography was best suited to capture the photographic aesthetics of the fascist nation, the article argues that within the paradigm of the Greater German Heimat we find not so much a form of anthropometric photography, as exemplified by the work of Hans F.K. Günther, as a genre of Heimat portraits that was better equipped to satisfy the need to unify two crucial structural oppositions in fascist ideology, namely mass versus individuality, and physical appearance versus inner soul.
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Brown, Terry M. "Transcending the colonial gaze: Empathy, agency and community in the South Pacific photography of John Watt Beattie1." Journal of New Zealand & Pacific Studies 8, no. 2 (December 1, 2020): 151–70. http://dx.doi.org/10.1386/nzps_00035_1.
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For three months in 1906, John Watt Beattie, the noted Australian photographer – at the invitation of the Anglican Bishop of Melanesia, Cecil Wilson – travelling on the church vessel the Southern Cross, photographed people and sites associated with the Melanesian Mission on Norfolk Island and present-day Vanuatu and Solomon Islands. Beattie reproduced many of the 1500-plus photographs from that trip, which he sold in various formats from his photographic studio in Hobart, Tasmania. The photographs constitute a priceless collection of Pacific images that began to be used very quickly in a variety of publications, with or without attribution. I shall examine some of these photographs in the context of the ethos of the Melanesian Mission, British colonialism in the Solomon Islands, and Beattie’s previous photographic experience. I shall argue that Beattie first exhibited a colonial gaze of objectifying his dehumanized exotic subjects (e.g. as ‘savages’ and ‘cannibals’) but with increased familiarity with them, became empathetic and admiring. In this change of attitude, I argue that he effectively transcended his colonial gaze to produce photographs of great empathy, beauty and longevity. At the same time, he became more critical of the colonial enterprise in the Pacific, whether government, commercial or church.
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Lewis, Abigail E. "Collaboration in Focus." French Politics, Culture & Society 40, no. 3 (December 1, 2022): 73–98. http://dx.doi.org/10.3167/fpcs.2022.400304.
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Abstract This article examines the collaboration trials of French photographers André Zucca (1944–1945) and Robert Delhay (1947–1949) within the context of the postwar French state's attempts to punish collaboration and rehabilitate the French press. Paying attention to the interpretation of photographs as evidence, I argue that within the post–Liberation French courtroom, photographic evidence became crucial to narrating collaboration and resistance as a means of gaining re-acceptance into the profession and escaping legal charges. However, photographs proved too complicated to clearly prove either collaboration. Photographers disputed the charges against them by offering new interpretations of their photographs. These new readings were rooted in a postwar visual culture that had been saturated with photographs as historical evidence of Nazi atrocities, French victimization, and resistance. This article details how the collection and display of photographic evidence in these court proceedings informed the emergence of a postwar photographic press steeped in résistancialisme.
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Saburova, Tatiana. "Geographical Imagination, Anthropology, and Political Exiles." Sibirica 19, no. 1 (March 1, 2020): 57–84. http://dx.doi.org/10.3167/sib.2020.190105.
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This article is focused on several themes connected with the history of photography, political exile in Imperial Russia, exploration and representations of Siberia in the late 19th–early 20th centuries. Photography became an essential tool in numerous geographic, topographic and ethnographic expeditions to Siberia in the late 19th century; well-known scientists started to master photography or were accompanied by professional photographers in their expeditions, including ones organized by the Russian Imperial Geographic Society, which resulted in the photographic records, reports, publications and exhibitions. Photography was rapidly spreading across Asian Russia and by the end of the 19th century there was a photo studio (or several ones) in almost every Siberian town. Political exiles were often among Siberian photographers, making photography their new profession, business, a way of getting a social status in the local society, and a means of surviving financially as well as intellectually and emotionally. They contributed significantly to the museum’s collections by photographing indigenous people in Siberia and even traveling to Mongolia and China, displaying “types” as a part of anthropological research in Asia and presenting “views” of the Russian empire’s borderlands. The visual representation of Siberia corresponded with general perceptions of an exotic East, populated by “primitive” peoples devoid of civilization, a trope reinforced by numerous photographs and depictions of Siberia as an untamed natural world, later transformed and modernized by the railroads construction.
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Haddour, Azzedine. "Bread and Wine: Bourdieu's Photography of Colonial Algeria." Sociological Review 57, no. 3 (August 2009): 385–405. http://dx.doi.org/10.1111/j.1467-954x.2009.01846.x.
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The photography of Bourdieu, whilst documenting aspects of his sociological work in Algeria, problematizes the relationship between its photographic referents and their history. To grasp this relationship, I will decode the historical signification of three photographs taken by Bourdieu in the mid-1950s when Tillion published L'Algérie en 1957 and Sartre ‘Le colonialisme est un système’ situating Bourdieu's photographic and sociological work in relation to both Tillion and Sartre. Although the influence of Tillion on Bourdieu is discernable, especially in Sociologie de l'Algérie, their political positions are at variance. Bourdieu's snapshots provide us with a perspective on how to interpret the causes of the vagrancy and famine in colonial times. Despite his avowed hostility to Sartre, Bourdieu concurs with the latter's critique of colonialism. His three photographs together project a political affinity with both Sartre and Barthes. The impoverishment of native Algerian society was not due to the fact that it failed to catch the train of progress, as Tillion intimates; rather it resulted from its systematic despoilment by colonial France.
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Schulze Tanielian, Melanie. "Defying the Humanitarian Gaze: Visual Representation of Genocide Survivors in the Eastern Mediterranean." Humanity: An International Journal of Human Rights, Humanitarianism, and Development 14, no. 2 (June 2023): 186–211. http://dx.doi.org/10.1353/hum.2023.a916996.
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Abstract: This article is a critical encounter with the genre of humanitarian photography through the case study of images of women survivors of the Armenian Genocide. Viewing photographs taken as part of the American humanitarian campaign in the Eastern Mediterranean, the article exposes the universalizing modality of humanitarian photography while exposing mass atrocities as perpetuating the silencing of victims by reducing them to symbols of suffering. Through an indexical, forensic, and critical fabulatory engagement with the humanitarian photograph, the article aims to unsettle the universalized humanitarian body and explore the possibilities that lie at the boundaries of traditional historical methodologies. Firstly, it exposes the constraints of reading the image solely within the framework of the humanitarian index, highlighting the resulting silences. Secondly, the forensic reading, while placing the photograph in the context of the larger textual archive, provides glimpses into the local circumstances surrounding its creation but still violently mutes the photographed. Lastly, inspired by the method of critical fabulation, the article embraces a speculative reading to reimagine the lives and experiences of the women in the photograph based on imaginary possibilities. Deploying a method that attends equally to archival content and that which is impossible to discern allows us to shift the focus to those who are visible photographically but are nonetheless invisible in the archive and muted by being forced to perform as part of the humanitarian index.
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Kaeppler, Adrienne L. "Early photographers encounter Tongans." Journal of New Zealand & Pacific Studies 8, no. 2 (December 1, 2020): 209–26. http://dx.doi.org/10.1386/nzps_00038_1.
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Four early photographers are examined here in relation to their encounters with Tongans and Tonga. These photographers are Andrew Garrett, Gustav Adolph Riemer, Clarence Gordon Campbell and Walter Stanhope Sherwill. Garrett, an American natural historian who specialized in shells and fish, took two ambrotypes of Tongans in Fiji in 1868, which are two of the earliest Tongan photographs known. Riemer, born in Saarlouis, Germany, was a marine photographer on S.M.S. Hertha on an official diplomatic visit and took at least 28 photographs in Tonga in 1876. Campbell, a tourist from New York, took 25 culturally important photographs in 1902. Sherwill, a British subject born in India, moved to Tonga about the time of the First World War. He probably took many photographs with more modern equipment, but only two have been identified with certainty. This article presents information about the photographers and those depicted, where the original photographs can be found and the research that made it possible to glean cultural information from them. These early photographers are placed in the context of other more well-known early photographers whose works can be found in archives and libraries in New Zealand, Australia, Hawai‘i and Germany. In addition, summary information about two Tongan-born photographers is presented, as well as where their photographs/negatives can be found.
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Thompson, Krista. "The Evidence of Things Not Photographed: Slavery and Historical Memory in the British West Indies." Representations 113, no. 1 (2011): 39–71. http://dx.doi.org/10.1525/rep.2011.113.1.39.
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Slavery and apprenticeship came to an end in the British West Indies in 1838, the year photography was developed as a fixed representational process. No photographs of slavery in the region exist or have been found. Despite this visual lacuna, some recent historical accounts of slavery reproduce photographs that seem to present the period in photographic form. Typically these images date to the late nineteenth century. Rather than see such uses of photography as flawed, or the absence of a photographic archive as prohibitive to the historical construction of slavery, both circumstances generate new understandings of slavery and its connection to post-emancipation economies, of history and its relationship to photography, and of archival absence and its representational possibilities.
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Olin, Margaret. "Touching Photographs: Roland Barthes's ''Mistaken'' Identification." Representations 80, no. 1 (2002): 99–118. http://dx.doi.org/10.1525/rep.2002.80.1.99.
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IN CAMERA LUCIDA, ROLAND BARTHES'S subject is the significance of photography's defining characteristic: the photograph's inseparable relation to its subject, that which ''must have been'' in front of the camera's lens. Or so it would seem. The present reading of Camera Lucida argues that Barthes's essay actually shows photography's nature as dependent not only on the intimate relation to its object, commonly termed ''indexical,'' but in accord with its relation to its user, its beholder. An examination of Barthes's encounters with photographs in Camera Lucida reveals the way in which identification and misidentification figure into the viewing of images, and suggests that contact between the beholder and the photograph actually eclipses the relation between the photograph and its subject. Barthes's focus on the emotional response of the viewer disguises the fact that he misidentified key details in Camera Lucida's photographs, most significantly in a 1927 portrait by James Van Der Zee and in the ''Winter Garden Photograph.'' This latter photograph of Barthes's recently deceased mother as a small child is famously not illustrated in the book. This essay argues that it is fictional. These ''mistakes'' suggest that Camera Lucida undermines its ostensible basis in indexicality. The subject did not have to be in front of the camera after all. The present rereading of the text from this point of view articulates a notion of performativity according to which the nature of the contact that exists between the image and the viewer informs the way an image is understood. Barthes's desire to find his mother again through her photograph to a large extent acts out his desire to re(per)form and make permanent his relation to her, a desire that he elucidates in the process of describing his search for her picture and his reaction to it when he finds it. This performative element is charged with identification; the person the narrator (Barthes) seeks, in his mother, is himself. A close analysis of the ''Winter Garden Photograph,'' as described by Barthes, shows how performances of identification are inscribed with gender and familial configurations.
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Koole, Simeon. "Photography as Event: Power, the Kodak Camera, and Territoriality in Early Twentieth-Century Tibet." Comparative Studies in Society and History 59, no. 2 (April 2017): 310–45. http://dx.doi.org/10.1017/s0010417517000068.
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AbstractThis article rethinks the nature of power and its relation to territory in the photographic event. Focusing on thousands of photographs taken during the British Younghusband Expedition to Lhasa between 1903 and 1904, it reorients understandings of photography as either reproducing or enabling the “negotiation” or contestation of power inequalities between participants. It shows how, in the transitory relations between Tibetans, Chinese, and Britons during and after photographic events, photography acted as a means by which participants constituted themselves as responsible agents—as capable of responding and as “accountable”—in relation to one another and to Tibet as a political entity. Whether in photographs of Tibetans protesting British looting or of their “reading” periodicals containing photographs of themselves, photography, especially Kodak photography, proposed potential new ways of being politically “Tibetan” at a time when the meaning of Tibet as a territory was especially indeterminate. This article therefore examines how the shifting territorial meaning of Tibet, transformed by an ascendant Dalai Lama, weakening Qing empire, and Anglo-Russian competition, converged with transformations in the means of visually reflecting upon it. If photography entailed always-indeterminate power relations through which participants constituted themselves in relation to Tibet, then it also compels our own rethinking of Tibet itself as an event contingent on every event of photography, rather than pre-existing or “constructed” by it.
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McHugh, Susan. "Video Dog Star: William Wegman, Aesthetic Agency, and the Animal in Experimental Video Art." Society & Animals 9, no. 3 (2001): 229–51. http://dx.doi.org/10.1163/156853001753644390.
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AbstractThe canine photographs, videos, and photographic narratives of artist William Wegman frame questions of animal aesthetic agency. Over the past 30 years, Wegman's dog images shift in form and content in ways that reflect the artist's increasing anxiety over his control of the art-making process once he becomes identified, in his own words, as "the dog photographer". Wegman's dog images claim unique cultural prominence, appearing regularly in fine art museums as well as on broadcast television. But, as Wegman comes to use these images to document his own transition from dog photographer to dog breeder, these texts also reflect increasing restrictions on what I term the "pack aesthetics," or collaborative production of art and artistic agency, that distinguish some of the early pieces. Accounting for the correlations between multiple and mongrel dogs in Wegman's experimental video work and exclusively Weimaraner-breed dogs with human bodies in his recent work in large-format Polaroid photography, this article explores how Wegman's work with his "video dog star," his first Weimaraner dog Man Ray, troubles the erasure of the animal in contemporary conceptions of artistic authority.
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Cardi, François. "Une démarche inductive en sociologie visuelle : le commentaire analytique." Approches inductives 2, no. 2 (August 6, 2015): 67–94. http://dx.doi.org/10.7202/1032607ar.
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L’article s’efforce de mettre en oeuvre la méthode inductive en sociologie visuelle, en combinant une analyse des contenus de la photographie avec le commentaire de la forme photographique. Il s’agit donc d’un travail de réflexion sur la méthodologie du commentaire analytique où l’induction se marie au travail d’analyse. Les éléments de théorie qui se dégagent peu à peu sont empruntés à des références savantes en même temps qu’à ce qui ressort comme généralités du regard sur la photographie. Trois photographies, oeuvres de l’auteur de l’article, servent de support et d’exemples à la démarche et à la méthodologie.
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Korola, Katerina. "The Air of Objectvity." Representations 157, no. 1 (2022): 90–114. http://dx.doi.org/10.1525/rep.2022.157.5.90.
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Focusing on Albert Renger-Patzsch’s photographs of the Zollverein colliery, this essay investigates the tension between the clarity of Renger-Patzsch’s aesthetic and the physical reality of the industrial environment in which he worked. In doing so, it offers an account of New Objectivity photography that is attentive to both the environment from which it emerged and the way in which photography, in turn, acted upon this environment. Placing particular stress on the clear contours and white backgrounds of these photographs, as well as their material and technical prerequisites, it argues that the radical clarity of Renger-Patzsch’s photographs is best regarded as an active intervention into a compromised environment, in which the photographer was called upon to bring forth clarity from the dust and smoke of industrial extraction.
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Brower, Matthew. "Trophy Shots: Early North American Photographs of Nonhuman Animals and the Display of Masculine Prowess." Society & Animals 13, no. 1 (2005): 13–32. http://dx.doi.org/10.1163/1568530053966661.
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AbstractThis essay examines the relationship between the display of non-human animal trophies and masculinity through an analysis of progressive-era American wildlife photography. In the 1890s, North American animal photographers began circulating their images in sporting journals and describing their practice as a form of hunting. These camera hunters exhibited their photographs as proof of sportsmanship, virility, and hunting prowess.
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Hodson, Dermot. "The Politics of Documentary Photography: Three Theoretical Perspectives." Government and Opposition 56, no. 1 (March 21, 2019): 20–38. http://dx.doi.org/10.1017/gov.2019.3.
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AbstractPhotographers are often inspired by politics but can they influence it? Drawing on the study of public policy and the history of photography, this article considers three ways in which documentary photographers enter the policy process. It considers the photographer as: a bureaucrat working within government networks to achieve individual and institutional aims; an advocate working with like-minded actors to advance shared political beliefs; an expert working within an epistemic community driven by a shared policy enterprise. These roles highlight the institutional channels through which photographers seek and sometimes secure political change and the contradictions and constraints they face in so doing. These contrasting perspectives are discussed with reference to the work of canonical and contemporary photographers engaged in national and international politics from 1890 to today.
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Beck, John. "Signs of the Sky, Signs of the Times." Theory, Culture & Society 28, no. 7-8 (December 2011): 123–39. http://dx.doi.org/10.1177/0263276411423773.
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From Alfred Stieglitz to Trevor Paglen, photographs of the sky have engaged with the relationship between abstraction and representation. This article argues that Stieglitz’s attempt to convert the ‘natural’ abstraction of the sky into the ‘cultural’ abstraction of the modernist image opens a space through which recent photographers have moved to use the sky photograph as a means of interrogating issues of openness and concealment that are at once aesthetic and political. The invisibility of signs of military-industrial power embedded within airspace is, in Richard Misrach’s and Paglen’s photographs, registered but not exactly shown, since the capacity of the photograph to reveal the unseen is challenged by the effectiveness of contemporary modes of concealment. What is shown in these images, however, is the condition of hiddenness itself, which is encountered by Misrach and Paglen not only through the abstraction of the sky photographs but by situating those images within a discursive field – through the use of titles, captions and an explication of working methods – that regrounds the atmospheric as a spectacular function of power’s open secret.
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Brevern, Jan von. "Resemblance After Photography." Representations 123, no. 1 (2013): 1–22. http://dx.doi.org/10.1525/rep.2013.123.1.1.
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Resemblance did not come naturally to photography. Soon after it became a public medium in 1839, photography’s ability to produce resemblant images—and therefore portraits—was widely challenged. Proponents of photography quickly responded to those challenges by developing more complex concepts of the new medium. This article argues that photography played an important part in evolving debates on resemblance. It also maintains that resemblance, far from being the “epistemological obstacle” it was deemed by theoreticians in the twentieth century, was exceptionally fertile for early photographic theory.
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Henderson, Andrea. "Magic Mirrors: Formalist Realism in Victorian Physics and Photography." Representations 117, no. 1 (2012): 120–50. http://dx.doi.org/10.1525/rep.2012.117.1.120.
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This essay argues that British photography of the 1850s and ’60s wedded realism—understood as a commitment to descriptive truthfulness—with formalism, or a belief in the defining power of structural relationships. Photographers at midcentury understood the realistic character of photography to be grounded in more than fidelity to detail; the technical properties of the medium accorded perfectly with the claims of contemporary physicists that reality itself was constituted by spatial arrangements and polar forces rather than essential categorical distinctions. The photographs of Clementina, Lady Hawarden exemplify this formalist realism, dramatizing the power of the formal logic of photography not only to represent the real but to reveal its fundamentally formal nature.
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de Larminat, Éliane. "Finding Photographic Recognition in the City: The Chicagoland-in-Pictures Amateur Historical Photography Project." Revue française d’études américaines N° 176, no. 3 (October 20, 2023): 28–51. http://dx.doi.org/10.3917/rfea.176.0028.
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Cet article étudie un vaste ensemble de photographies de Chicago produites par des amateurs dans les décennies d’après-guerre et destinées à la recherche et la publication sur la ville. Il examine la façon dont des photographes de classe moyenne ont collectivement défini une forme de documentation urbaine entre des normes hétérogènes venant de la pratique historique et de la culture des camera clubs. Il contribue à une histoire étendue de la photographie documentaire telle qu’elle a été définie et pratiquée par divers acteurs individuels et institutionnels.
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Gallus-Price, Sibyl. "Why Photography Mattered (1847) As Art More Than Ever Before." Praktyka Teoretyczna, no. 4(50) (March 28, 2024): 51–74. http://dx.doi.org/10.19195/prt.2023.4.3.
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In the late 20th-century, landscape photographs that were never meant as art come to play a central role in the critique of one notion of what art is. Rosalind Krauss begins her attack on Modernism by mobilizing the indexical qualities of the photograph, holding up Timothy O’Sullivan’s 19th-century landscape photographs as the exemplar. This essay considers Krauss’s model in relation to César Aira’s contemporary revival of the 19th century landscape painter Johann Moritz Rugendas who is conceived, I argue, under the sign of the photograph. Conceptually recasting the landscape— the locus classicus for the crisis of Modernist art— through Rugendas, Aira transforms the painterly genre into an alternative neuro-aesthetically charged “procedure.” Aira’ s landscape painter turned photographer serves, I contend, both as an emblem for Aira’s own relation to writing and as an artifact of Krauss’s post-Art world.
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Quanchi, Max. "Researching early photography of the Pacific Islands: An overview." Journal of New Zealand & Pacific Studies 8, no. 2 (December 1, 2020): 269–81. http://dx.doi.org/10.1386/nzps_00041_7.
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Historical research on the early years of photography in the Pacific Islands has revealed changes in the practice of photography, the development of Pacific imagery, tropes and stereotypes and changes in the ways images were distributed, archived and used in modern contexts. Research in the field was initially focused on photography’s indexical nature and the role of professional and amateur photographers, travellers, colonial officials and missionaries. The research highlighted here, only in the English language and excluding Aotearoa/New Zealand, reveals how later analyses have begun to grow more theoretical, in keeping with postcolonial approaches to reading cross-cultural representation, and how new directions in research point towards the nature of Indigenous engagement with early photography.
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Suga, Keijiro. "Looking Back at the Phenomenocene." boundary 2 46, no. 3 (August 1, 2019): 117–18. http://dx.doi.org/10.1215/01903659-7614171.
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This essay is conceived as a supplement to Masao Miyoshi’s only book of photography. Miyoshi was an avid traveler and photographer all his life. He called his practice “anti-photography” and left a book titled This Is Not Here (2009). His photographic images are interesting in many ways, surprisingly fresh and often beyond words. But what is essential about photography is the fact that photography is never controllable. Photography, by its nature, is anti-ethics and anti-aesthetics. My thoughts are about the world of phenomena, appearances, and bodiless ghosts. These come in a thousand layers around the surface of the globe to allow you to inhabit within this shapeless realm, or a realm with too many shapes. Just like geological upheaval, this regime of images offers a new era that might be called the phenomenocene. This is our commonplace, our common destiny.
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Kelly, Marjorie, and Sara Essa Al-Ajmi. "From Invisible to Actualized: Imagery and Identity in Photos of Women in the Gulf." Hawwa 19, no. 1 (February 22, 2021): 51–75. http://dx.doi.org/10.1163/15692086-bja10017.
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Abstract After reviewing how Middle Eastern women have been photographed historically, the paper explores how contemporary Gulf women represent themselves, both behind and in front of the camera. Initially, women were invisible, then eroticized or exoticized in Orientalist photography, only to appear in early twentieth-century family portraits as both the repository of cultural values and as the new, modern woman. The reaction of contemporary Gulf female photographers to perceptions of themselves as jobless, nameless, faceless, and voiceless is presented in examples of art photography-cum-political commentary. The media coverage of Qatar’s Shaykha Mūza is analyzed in terms of her use of clothing as nonverbal communication and as a form of soft-power politics. It is followed by a discussion of the rules – formal and informal – for publishing photos of females. The paper concludes with a survey of Gulf females’ use of selfies. Thus, three aspects of photography – as art, as photojournalism, and as private communication – demonstrate how Gulf women visually represent their identities.
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Sharpe, Jenny. "Life, Labor, and a Coolie Picturesque in Jamaica." Small Axe: A Caribbean Journal of Criticism 26, no. 2 (July 1, 2022): 24–45. http://dx.doi.org/10.1215/07990537-9901583.
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Although the signs of Indo-Jamaican and Afro-Jamaican cohabitation are present in a late-nineteenth-century photographic archive, the visual power of an imperial picturesque obscures the evidence that exists in plain view. The illusion of self-contained villages of imported Indian workers that photographs create is informed by even as it reinforces a colonial order of racial segregation. By identifying the photographic traces of Indians’ indentureship, this essay introduces time and motion into still photography that reduces Indian lives to single ethnographic instances. It also deploys dougla—the name for people of mixed Indian and African descent who exist as a “flaw” in the British colonial hierarchy of race—as a critical lens for exposing photographic flaws that rupture the smooth surface of the picturesque in ethnographic tableaux of “coolies” and Orientalizing portraits of “coolie belles.”
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JARVIS, ANDREW. "‘The Myriad-Pencil of the Photographer’: Seeing, Mapping and Situating Burma in 1855." Modern Asian Studies 45, no. 4 (June 29, 2010): 791–823. http://dx.doi.org/10.1017/s0026749x09990023.
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AbstractIn the 1850s photography was a nascent technology. Linnaeus Tripe's photographs and the Burmese Konbaung polity were perceived to be new and/or novel. They were defined and interpreted in relation to things that were established and better-known, as Tripe sought to understand photography and culturally locate ‘Burma’. Tripe was not simply a ‘colonial’ functionary, but an exploratory photographer attempting to classify the subjects of visual representation—mainly Buddhist architecture—and explore photography itself. He strove to be systematic and methodical in his ‘mapping’ of locales: he photogenically captured specimens of architecture, which could then be compared with specimens from elsewhere and located in a ‘Linnaean system’. The lack of clearly defined expectations gave him room for experimentation in his delineations of unphotographed locales, which meant that he could ultimately decide for himself what was worthy of being represented. It takes a concerted effort today to see his photographs as they might have been seen in the 1850s. They can be interpreted in myriad ways and a limitless number of meanings can be ascribed to them, reflecting the ambiguous nature of the medium. Interpretations are shaped by archival contexts and microhistories of circulation and presentation; when viewing the prints today it is important not to posthumously infer Tripe's intentions and motivations without adequately considering the circumstances in which he operated.
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Hill, Sarah Patricia. "Double exposures: the photographic afterlives of Pasolini and Moro." Modern Italy 21, no. 4 (November 2016): 409–25. http://dx.doi.org/10.1017/mit.2016.46.
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Photographs play a crucial role in the ways the lives and deaths of Pier Paolo Pasolini and Aldo Moro are remembered in Italian culture. Locating photographs of the two men taken before and after their murders against the backdrop of the changes in photographic practice that took place in Italy from the period of the economic boom in the late 1950s through to the early 1970s, this article explores and compares the cultural meanings of the photographs of the bodies of these two very different but equally symbolic public figures, both alive and dead. Analysing the significance of these images in Italy in the 1970s and after, it notes how contemporary theoretical approaches to the medium – particularly in terms of understandings of mass media forms and the theoretical linking of photography and death – shaped how the photographs have been understood in relation to their social and political context. It argues that the afterimage of the photographs of the corpses of Pasolini and Moro is overlaid in Italian cultural memory over the visual record of the two men during their lives in a kind of mnemonic ‘double exposure’ that constitutes these bodies of images as collective icons of their times.
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Müller, Katja. "Adivasi images, Adivasi voices. The resonance of the Eickstedt collection." Modern Asian Studies 56, no. 5 (September 2022): 1416–37. http://dx.doi.org/10.1017/s0026749x21000202.
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AbstractThis article analyses how past and contemporary Adivasi voices are expressed in colonial photographs, and how they have—and continue to—both enable and restrict speaking through visual representation. It examines the collection of the German anthropologist Egon von Eickstedt, who in the 1920s took about 12,000 photographic images and 2,000 objects from Adivasi communities in India, Ceylon, and Burma. As a racial anthropologist he defined and framed the photos and created the collection according to his own preconceptions. The photographs, embedded in a colonial context and an increasingly racial/racist German anthropology, reveal very asymmetric power relations. Yet, the voice of the Adivasi is not completely suppressed, as the photographed people are not mere objects, but find various ways of expressing sentiments in the photographs. Ninety years on, the images and objects have lost none of their ambiguity. They continue to resonate when newly arranged and criticized in the permanent exhibition of a German museum, as well as when curated at the Museum of Voice of the Adivasi Academy in Gujarat.
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Tomassini, Luigi. "Una "dialettica ferma"? Storici e fotografia in Italia fra linguistic turn e visual studies." MEMORIA E RICERCA, no. 40 (September 2012): 93–110. http://dx.doi.org/10.3280/mer2012-040007.
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How the visual studies have influenced the work of historians? To answer this question the paper addresses some methodological problems that have characterized the historians' growing attention for images over the last decades. Particularly, we examine the photograph as an image that is simultaneously trace and representation of the reality. The second part offers a survey of the works that have used photography as a historical source in Italy, identifying the Italian specificity in a strong presence of historical-political essays using the photographic sources.
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Glebova, Aglaya. "Elements of Photography." Representations 142, no. 1 (2018): 56–90. http://dx.doi.org/10.1525/rep.2018.142.1.56.
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This essay traces the evolution of landscape imagery in Aleksandr Rodchenko’s photographic oeuvre, focusing especially on images produced during his journalistic trip to the White Sea-Baltic Canal, one of the first Soviet forced labor camps. Through close reading of photographs, it argues that Rodchenko’s abandonment of avant-garde aesthetics, in particular the emphasis on photography’s transformative powers and its medium-specificity, in these images did not represent a shift toward socialist realism but, rather, held critical potential in the face of contemporaneous official censure of formalism and “contemplation” in both science and art.
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Ellenbogen, Josh. "Camera and Mind." Representations 101, no. 1 (2008): 86–115. http://dx.doi.org/10.1525/rep.2008.101.1.86.
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This article examines the standards of adequacy and utility that informed Etienne-Jules Marey's use of photography. It argues that Marey's work poses challenges to the analytic tools that scholars often use to theorize photography's role in scientific representation and attempts to establish an alternative conceptual model for understanding Marey's endeavor. Rooted in late nineteenth-century philosophy of science, this alternative model is meant to have a wider application to photographic projects of the fin de sièècle.
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Chao, Jenifer. "Portraits of the enemy: Visualizing the Taliban in a photography studio." Media, War & Conflict 12, no. 1 (June 23, 2017): 30–49. http://dx.doi.org/10.1177/1750635217714015.
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This article examines studio photographs of Taliban fighters that deviate from popular media images which often confine them within the visual coordinates of terrorism, insurgency and violence. Gathered in a photographic book known simply as Taliban, these 49 photographs represent the militants in Afghanistan through a studio photography aesthetic, transplanting them from the battlefields of the global war on terror to intimate scenes of pretence and posing. Besides troubling the Taliban’s expected militant identity, these images invite an opaque and oppositional form of viewing and initiate enigmatic visual and imaginative encounters. This article argues that these alternative visualizations consist of a compassionate way of seeing informed by Judith Butler’s notions of precarity and grievability, as well as a viewing inspired by Jacques Rancière’s aesthetic dissensus that obfuscates legibility and disrupts meaning. Consequently, these photographs counter a delimited post-9/11 process of enemy identification and introduce forms of seeing that reflect terrorism’s complexity.
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Becker, Howard S. "Sociologie visuelle, photographie documentaire et photojournalisme." Communications 71, no. 1 (2001): 333–51. http://dx.doi.org/10.3406/comm.2001.2091.
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Grigsby, Darcy Grimaldo. "Negative-Positive Truths." Representations 113, no. 1 (2011): 16–38. http://dx.doi.org/10.1525/rep.2011.113.1.16.
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Opening with a consideration of the role played by Richard Avedon's photograph of William Casby in Roland Barthes's Camera Lucida, this essay examines Sojourner Truth's precocious and knowing use of the technology of photography. Inscribed with the caption "I Sell the Shadow to Support the Substance," Truth's inexpensive cartes-de-visite functioned as a form of paper currency during the years immediately following the Civil War. As a chemical process, photography transformed precious metals into paper images; as an optical registration of light and shadow, photographic negatives turned white into black and black into white, a reversal noted by Oliver Wendell Holmes in an essay that suggests that racial difference informed understandings of the new medium.
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Imada, Adria L. "Promiscuous Signification." Representations 138, no. 1 (2017): 1–36. http://dx.doi.org/10.1525/rep.2017.138.1.1.
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This essay assesses clinical photographs of leprosy patients created by the Hawai‘i Board of Health in the late nineteenth and early twentieth centuries, or what may be the most extensive visual cataloging of indigenous, Asian, and immigrant bodies in America’s Pacific empire. Building on theoretical and methodological approaches to archives as a process rather than a source, I follow the trail of these clinical images through time and space, from their emergence within a photographic practice of medical management and segregation in Hawai‘i to their prolific circulation in transnational political and medical arenas. Offering spectacular evidence of the racialized and sexualized pathology of colonial peoples, these photographs were tightly regulated but increasingly viewed as clinical erotica after the United States incorporated Hawai‘i as a territory in 1900. The essay further suggests the “affective excess” that can disrupt the photograph’s medical surveillance, as social intimacies and care between Hawaiian patients bloom within the frame.
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Davydova, Olga. "“A Russian Journal” by John Steinbeck and Robert Capa: “Us” and “Them” in Photographs." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 1 (March 2024): 34–43. http://dx.doi.org/10.15688/jvolsu4.2024.1.4.
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Introduction. The article is devoted to the analysis of the images of “us” and “them” in the photographs of Robert Capa on the pages of “A Russian Journal,” the text of which belongs to John Steinbeck. Containing both explicit and implicit markers of otherness, this text is an early example of nascent Cold War discourse. Methods and materials. Using methods of media and visual studies as well as photograph theory, the author of the article considers “A Russian Journal” as a single media text. Its specificity lies in the interaction of two media within it: visual (photo) and verbal (text). Analysis. The author of the article traces how the meaning of the images arises from their connection with text and how the presence of the images affects the whole narrative of “A Russian Journal.” The photographs here function on two levels. First, they certify the sincerity of the writer, as Capa is represented as an observer, and the very function of the photograph-document is informational. Second, the very presence of a camera is considered a threat and means power. The photographs construct the meaning of reality and implicitly become an instrument to reveal the differences between the two powers, the USSR and the USA. Results. The photographs, as a discursive element of “A Russian Journal,” mark an insurmountable barrier between the two countries. The specifics of photographic media and the discourse built around this media influence the creation of the image of the “other”, which turns out to be a potentially dangerous “alien”.
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Jacobs, Steven, and Bruno Notteboom. "Photography and the Spatial Transformations of Ghent, 1840-1914." Journal of Urban History 44, no. 2 (February 10, 2016): 203–18. http://dx.doi.org/10.1177/0096144216629969.
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During the nineteenth and early twentieth centuries, the photographic visualization of the Belgian city of Ghent is closely connected to its urban planning. On one hand, the city is transformed according to the logics of industrial modernization with its functional and spatial zoning. On the other hand, the city’s historical heritage is rediscovered and many medieval buildings were preserved and restored. The planning history of Ghent is usually described in two stages: first, the “Haussmannization” of the city, the creation of boulevards and vistas according to the model of Brussels and Paris, and second, the return to regionalism and a picturesque sensibility during the preparation of the 1913 World’s Fair. The photographic representation of the city seems to mirror this evolution, exchanging the image of the city as a series of isolated monuments for a more sensory and immersive experience. However, a close look at a broad range of images produced by both foreign and local photographers allows us to nuance this assumption. Particularly, the work of Edmond Sacré, who photographed Ghent over half a century, combines a “topographical” and a “picturesque” sensibility.
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Niemelä-Nyrhinen, Jenni, and Janne Seppänen. "Visual communion: The photographic image as phatic communication." New Media & Society 22, no. 6 (September 14, 2019): 1043–57. http://dx.doi.org/10.1177/1461444819876237.
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Phatic communication is a mode of communication where the significative content of the used utterance gives way to the social bonding function of the utterance itself. This mode of communication appears to be increasingly common in our current media culture and is exemplified by frequent photo sharing through applications such as Snapchat. However, most theoretical discussions on phatic communication have taken place in the context of linguistic expressions. In this theoretical article, we broaden the focus to visual interpersonal communication by way of photography theory. We suggest that photographic phatic communication is based on the indexicality of the medium itself and the sense of presence it produces. We argue further that, contrary to previous literature, photographic phatic communication is not without meaningful content. However, we propose that it is connected, primarily, to the material indexicality of the photograph and only secondarily to the signifying function of the iconic content.
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Nešpor, Zdeněk R. "Meziválečná americká sociologie v obrazech." Lidé města 25, no. 3 (December 1, 2023): 367–87. http://dx.doi.org/10.14712/12128112.4148.
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The author presents fifteen photographs from the private album of Otakar Machotka (1899–1970), taken of prominent American sociologists and social scientists hailing from the interwar era. Machotka was one of the key personalities of Czech sociology in the given period, striving for its empiricization and internationalization, while at the same time he was an excellent expert on American and French sociology. He published a study on American sociology (1937) based on a research stay in Chicago and Los Angeles (and on his travels throughout the United States) in 1934–35. The photographs, which are published here for the first time, were taken at the same time. Although for methodological reasons we cannot consider them a sociological resource in the full sense, they provide interesting insight into the elite of the field at the time. The portraits are accompanied by short biographies, written by the publisher.
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Sheehan, Brett. "An Awkward, but Potent, Fit Photographs and Political Narratives of the Tianjin Incidents During the Sino-Japanese Conflict, November 1931." European Journal of East Asian Studies 7, no. 2 (2008): 193–227. http://dx.doi.org/10.1163/156805808x372421.
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AbstractIn November 1931, Japanese-hired Chinese 'plainclothesmen' attacked strategic locations in the Chinese portions of Tianjin leading to the eruption of a mini war for most of the month. At the time the Chinese and Japanese sides engaged in a bitter dispute about the basic facts of the events. The use of photographs in the service of these conflicting narratives shows that on the Chinese side coverage emphasised the link between the plainclothesmen and Japan by contrasting Japanese aggression with Chinese victimhood. Photographs in Japanese sources portrayed an enclosed and claustrophobic Japanese concession surrounded by threats from Chinese agitators goaded on by the Nationalist government. In all versions, photographic content and political narrative often fit awkwardly. Captions, juxtaposition and accompanying news stories placed otherwise cryptic photographs in larger political narratives. The ubiquitous use of photographs indicates a belief in their power which derived from both their claim on veracity and their ability to create an emotional conenction with the viewer. As a political tool, the photograph functioned in public mass media where readers hungered for the poignant and sensational. In the end, veracity and emotional charge, political narrative and sensationalist photo, militarism and wartime reporting were all inextricably linked.
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Topinka, Robert J. "Politically incorrect participatory media: Racist nationalism on r/ImGoingToHellForThis." New Media & Society 20, no. 5 (June 15, 2017): 2050–69. http://dx.doi.org/10.1177/1461444817712516.
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This article examines how racism and nationalism flourish in participatory media spaces by analyzing user comments and images posted on the reddit community r/ImGoingToHellForThis in the week following widespread news coverage of the photograph of Alan Kurdi, a Syrian boy whose dead body was photographed on a beach in Turkey. The community is dominated by racist nationalist discourse that combines textual commentary with photographs and other visual media that have been remediated into offensive visual jokes, which “cloak” the racism. Through an in-depth study of user-submitted comments and visual jokes, this article argues that the “cloaks” that obscure online racism can be at once highly obvious and highly effective. Rather than unmasking obscured racist online ideologies, scholars must also examine how racism flourishes while hiding in plain sight by tracing how racist discourses assemble in participatory media communities.
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Chaplin, Elizabeth. "The Photograph in Theory." Sociological Research Online 10, no. 1 (June 2005): 141–77. http://dx.doi.org/10.5153/sro.964.
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This article gives an account of an ethnographic project which relied on the use of photography: the project involved taking photographs, asking for responses to them, and then analysing both photos and responses. Anything that plays a central role in an ethnographic project requires theoretical consideration. So, as the account of the project proceeds, the photos are considered from different theoretical viewpoints; and an emerging and subsequently recurring theme is the tension between what a photo shows and what a photo means. Discussion of this tension develops into a more general critique of the ways photos are theorised in social science. I conclude that the photograph in social science theory is at present a sad phenomenon, and that in order to remedy this situation, we should seek help from outside social science.
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Oberländer, Alexandra. "Working Faces, Facing Work: Portraying Workers at Work and the Search for the Soviet Individual." Soviet and Post-Soviet Review 48, no. 2 (June 11, 2021): 211–34. http://dx.doi.org/10.1163/18763324-bja10027.
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Abstract Images of workers were ubiquitous in Soviet visual culture. Other than in capitalist countries, the Soviet visual regime was inextricably linked to the faces of working people; workers were elevated to the ‘status of icons’ in newspapers, journals and movies alike. According to Soviet ideology, every worker contributed to socialism, which is why everyone was worthy of portrayal. The article traces the discussion among professionals and readers in Soviet journals about how to portray working people both in their professions and their everyday lives. In the 1960s, Soviet photographers actively propagated a shift from portraying the profession to portraying the individual. A close reading of photographs published mostly in Sovetskoe foto details how Soviet photo-graphers aimed at capturing individuality in the first place, how photography helped establish typical and un-typical notions of individuality and work, and to which extent the a-typical became the new typical.
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Oberländer, Alexandra. "Working Faces, Facing Work: Portraying Workers at Work and the Search for the Soviet Individual." Soviet and Post-Soviet Review 48, no. 2 (June 11, 2021): 211–34. http://dx.doi.org/10.30965/18763324-bja10027.
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Abstract Images of workers were ubiquitous in Soviet visual culture. Other than in capitalist countries, the Soviet visual regime was inextricably linked to the faces of working people; workers were elevated to the ‘status of icons’ in newspapers, journals and movies alike. According to Soviet ideology, every worker contributed to socialism, which is why everyone was worthy of portrayal. The article traces the discussion among professionals and readers in Soviet journals about how to portray working people both in their professions and their everyday lives. In the 1960s, Soviet photographers actively propagated a shift from portraying the profession to portraying the individual. A close reading of photographs published mostly in Sovetskoe foto details how Soviet photo-graphers aimed at capturing individuality in the first place, how photography helped establish typical and un-typical notions of individuality and work, and to which extent the a-typical became the new typical.
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Badran, Badran. "Visual Storytelling." Middle East Journal of Culture and Communication 14, no. 1-2 (September 28, 2021): 23–45. http://dx.doi.org/10.1163/18739865-01401007.
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Abstract This study examines rare historical photographs from Kuwait, dated from the 1950s through the 1970s. These photographs are from several collections, including the private collection of Kuwait’s first professional photographer, the late A.R. Badran. Together they tell parts of Kuwait’s pre- and post-independence history. This study contextualizes photos and captions, written by the photographer, to determine the photographs’ original function based on stories, events or activities that were the subjects of the photographs. The historical, political and sociocultural development illustrated here is comparable to that of other Gulf states, thus the findings may be useful to researchers studying Kuwait’s history and also the histories of Arab Gulf states.
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Peterson, Derek R., Richard Vokes, Nelson Abiti, and Edgar C. Taylor. "The Unseen Archive of Idi Amin: Making History in a Tight Corner." Comparative Studies in Society and History 63, no. 1 (January 2021): 5–40. http://dx.doi.org/10.1017/s0010417520000365.
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AbstractIn May 2019 we launched a special exhibition at the Uganda Museum in Kampala titled “The Unseen Archive of Idi Amin.” It consisted of 150 images made by government photographers in the 1970s. In this essay we explore how political history has been delimited in the Museum, and how these limitations shaped the exhibition we curated. From the time of its creation, the Museum's disparate and multifarious collections were exhibited as ethnographic specimens, stripped of historical context. Spatially and organizationally, “The Unseen Archive of Idi Amin” turned its back on the ethnographic architecture of the Uganda Museum. The transformation of these vivid, evocative, aesthetically appealing photographs into historical evidence of atrocity was intensely discomfiting. We have been obliged to organize the exhibition around categories that did not correspond with the logic of the photographic archive, with the architecture of the Museum, or with the experiences of the people who lived through the 1970s. The exhibition has made history, but not entirely in ways that we chose.