Journal articles on the topic 'Photographie – Sociologie'
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1
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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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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Guigneraye, Christine Louveau de la. "François Cardi, Photographie et sciences sociales. Essai de sociologie visuelle,." La Nouvelle Revue du Travail, no. 22 (April 28, 2023): 207–94. http://dx.doi.org/10.4000/nrt.14026.
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Noordenbos, Corinne, Bart Sorgedrager, Ineke Teijmant, and Roos Gerritsma. "La sociologie comme véhicule : une nouvelle méthode d'apprentissage dans l'éducation de la photographie documentaire." Sociétés 95, no. 1 (2007): 41. http://dx.doi.org/10.3917/soc.095.0041.
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Juan, Salvador. "François CARDI, Photographie et sciences sociales. Essai de sociologie visuelle, Paris, L’Harmattan, 2021, 244 p." L'Homme & la Société N° 216, no. 1 (November 29, 2022): 249–51. http://dx.doi.org/10.3917/lhs.216.0249.
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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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Maurines, Béatrice, and Angel Sanhueza. "Renouvellement du terrain par la photographie: La cooperation d'une ethnologue et d'un photographe." Bulletin of Sociological Methodology/Bulletin de Méthodologie Sociologique 81, no. 1 (January 2004): 33–47. http://dx.doi.org/10.1177/075910630408100104.
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Morrison, Heidi. "Unspoken Dreams." International Journal of Middle East Studies 41, no. 4 (October 26, 2009): 548–50. http://dx.doi.org/10.1017/s0020743809990043.
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During the period from 1900 to 1950, the production and deployment of photographic images of the Egyptian child by Egyptian adults played a role in nationalism, a role as yet unstudied by historians of Egypt or of photography. The studio portrait selected here represents the commonly produced genre of photographs that showed Egyptian children as technologically capable and possessing Western symbols of progress. This picture of two girls and one boy surrounding an adult man's bike—whose wheels are larger than the smallest child and on whose seat seems to be placed the decorative vase of flowers in the backdrop—suggests that the children are present in the living room not to ride the bike but rather to show off their possession of a modern means of transportation (and perhaps to learn about it from the books resting on the bike's rear rack).
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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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Ryzova, Lucie. "Mourning the Archive: Middle Eastern Photographic Heritage between Neoliberalism and Digital Reproduction." Comparative Studies in Society and History 56, no. 4 (October 2014): 1027–61. http://dx.doi.org/10.1017/s0010417514000486.
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AbstractThe past decade and a half have seen the founding of new archival initiatives in the Middle East devoted to collecting and preserving photographs. This article examines critically the constitution of photographic heritage in the region ethnographically and historically. I look first at how historical photographs are understood in Egypt by their custodians old and new. Publics and institutions overwhelmingly see photographs as “images of something,” and appreciate them for their visual content rather than as social and cultural objects. This facilitates their transfer from public collections into private hands in Egypt and abroad. I examine in detail key actors currently involved in shaping photographic heritage: the Library of Alexandria in Egypt, the Arab Image Foundation in Beirut, and private collectors in Egypt. I look at how these actors assign value to historical photographs in their custody and their strategies for collecting and curating them. They often define their actions negatively, “against others,” historically against a state that they believe has failed to care for national heritage. Yet these very actors, and their rivals, often perpetuate such narratives and associated fears. Two models of photographic heritage-making are currently emerging in the region: a “digital” model that destroys artifacts in order to produce data, and a model of private cultural institutions that provide unclear and selective access to their collections.
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Cataldi, Michael, David Kelley, Hans Kuzmich, Jens Maier-Rothe, and Jeannine Tang. "Residues of a Dream World." Theory, Culture & Society 28, no. 7-8 (December 2011): 358–89. http://dx.doi.org/10.1177/0263276411425834.
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The High Line – a public park on a repurposed railway track in New York City – first opened to the public in 2009, and has been increasingly celebrated as a model public space, and as a democratic project directed by community. Artistic and amateur photographic practices have significantly informed the High Line’s design, landscaping, publicity, urban policy, use and constellations of community. This photo-conceptual essay critically considers the constitutive function of the photographic image, as photography produces, interpellates and defines the public and public sphere of the High Line. However, these imaging practices have also taken increasingly regulated form, and endorse conservative forms of community, personhood and publicness. The new park’s imaging practices may be understood as supplementary to neoliberal forms of property accumulation, in fact diminishing public space even as they purport to represent it. Drawing from the historical avant-garde, feminist critiques of representation and anti-capitalist urban theory, the following photographic series critiques the High Line’s photographic apparatus, from within a practice of photography, and from a position within the field of contemporary art.
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Žaltauskaitė, Vilma, and Rytė Žiūrienė. "CONCERNING A FLOWERY TABLECLOTH AND THE COMPUTER-AIDED ANALYSIS OF A 19TH-CENTURY PHOTOGRAPHIC IMAGE / APIE GĖLĖTĄ STALTIESĘ IR XIX AMŽIAUS FOTOGRAFIJOS KOMPIUTERINĘ VAIZDO ANALIZĘ." CREATIVITY STUDIES 6, no. 1 (June 28, 2013): 64–84. http://dx.doi.org/10.3846/20297475.2013.808450.
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The paper introduces some peculiarities of the analysis of the photographic image which emerged in the process of the investigation and preparation for publication of the album of prelate Povilas Januševičius’ the end of 19th – beginning of 20th century. Miscellaneous analysis of photograph image is presented. It also introduces how problems of photograph dating could be solved by combining in sights of investigator as well as application of information technology. Among other things a technological study is being presented in which similarity of flowered tablecloth was analysed in different photographs. Up-to-date programs for processing and analyzing images open up completely new possibilities leading to automatic recognition and identification of objects, symbols and faces. Santrauka Straipsnyje supažindinama su kai kuriomis senosios fotografijos datavimo problemomis, kurios iškilo rengiant publikavimui ir analizuojant bei komentuojant prelato Povilo Januševičiaus XIX amžiaus pabaigos – XX amžiaus pradžios fotografijų albumą. Pateikiama fotografijų vaizdo, fotografijų fotokortelių analizė. Supažindinama, kaip būtų galima spręsti fotografijų datavimo problemas, derinant tyrėjo įžvalgas ir pasitelkiant informacines technologijas. Taip pat pateikiamas technologinio pobūdžio tyrimas, kurio metu buvo tikrinamas gėlėtos staltiesės panašumas skirtingose nuotraukose. Šiuolaikinės vaizdo apdorojimo ir analizės programos suteikia kokybiškai naujas galimybes, kada tampa įmanomas automatizuotas objektų, simbolių ar veidų atpažinimas ir identifikavimas.
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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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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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LOWRIE, CLAIRE. "‘What a Picture Can Do’: Contests of colonial mastery in photographs of Asian ‘houseboys’ from Southeast Asia and Northern Australia, 1880s–1920s." Modern Asian Studies 52, no. 4 (April 23, 2018): 1279–315. http://dx.doi.org/10.1017/s0026749x16000871.
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AbstractThe archives of colonial Southeast Asia and northern Australia contain hundreds of photographs of masterly white colonizers and their seemingly devoted Asian ‘houseboys’. This article analyses this rich photographic archive, drawing on examples from the Netherlands Indies, Singapore, Hong Kong, the Philippines, and the Northern Territory of Australia. It explores how photographs of ‘houseboys’ worked as a ‘visual culture’ of empire that was intended to illustrate and immortalize white colonial power, but that also expressed anxieties about colonial projects. As well as a tool for understanding the assertions and insecurities of white colonizers, the article argues that photographs of servants can be used to illuminate the working lives of these Chinese, Malay, Javanese, and Filipino men. Drawing on a remarkable studio portrait that was commissioned by three Filipino servants and an oral history account from a Chinese servant, I conclude that both masters and servants used the photographic medium to assert their power in the home and the colony.
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Karlekar, Malavika. "Book review: Sasanka Perera. 2020. The Fear of the Visual? Photography, Anthropology, and Anxieties of Seeing." Contributions to Indian Sociology 55, no. 2 (June 2021): 282–84. http://dx.doi.org/10.1177/00699667211002302.
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Ross, Reuben Connolly. "The Photographer Photographed: A Conversation with Jean Mohr." Imaginations Journal of Cross-Cultural Image Studies/revue d études interculturelle de l image 13, no. 2 (October 30, 2022): 23–45. http://dx.doi.org/10.17742/image.tp.13.2.2.
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The Swiss photographer Jean Mohr, who died in November 2018 at the age of 93, is well known for his long career documenting the plight of the displaced and dispossessed. Especially noteworthy are his collaborations with major intellectual figures, through which he experimented with the construction of visual narratives. His celebrated books with John Berger include *A Fortunate Man*, an intimate portrait of an English country doctor, and *A Seventh Man*, a meditation on migrant labour in 1970s Europe; with Edward Said, he published *After the Last Sky*, a reflection on Palestinian life through the fusion of text and photography. Partially based on a short interview conducted with Mohr in early 2018, this paper reflects on his life and work, taking the reader on a journey mediated by our conversation. In particular, I explore the development of his unique approach to photography and the experimental construction of visual narratives. In so doing, I argue that Mohr’s work offers social scientists, particularly those engaged in studying processes of migration or zones of conflict, ways of constructing more effective, more engaged, and more experiential accounts of complex social realities.
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Back, Les. "Portrayal and Betrayal: Bourdieu, Photography and Sociological Life." Sociological Review 57, no. 3 (August 2009): 471–90. http://dx.doi.org/10.1111/j.1467-954x.2009.01850.x.
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Through an examination of Bourdieu's Algerian fieldwork the article raises general questions regarding the place of photography in sociological research. In the midst of a colonial war Bourdieu used photography to make visual fieldnotes and record the mixed realities of Algeria under colonialism. Bourdieu also used photography to communicate to the Algerians an ethical and political commitment to their cause and plight. It is argued that his photographs do not simply portrayal or communicate the realities of Algeria. They are, paradoxically, at the same time full of information and mysterious and depthless. In order to read them it is necessary to ethnographically situate them in their social and historical context. It is suggested that the photographs can also be read as an inventory of Bourdieu's attentiveness as a researcher, his curiosity and ultimately his sociological imagination. They betray his concerns as a researcher but also can be used to raise ethical and political questions beyond Bourdieu's own attempts at reflexive self-analysis. The article concludes with a discussion of how Bourdieu's sociological life might contribute to the craft of sociology today.
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Freeman, Carol. "Imaging Extinction: Disclosure and Revision in Photographs of the Thylacine (Tasmanian tiger)." Society & Animals 15, no. 3 (2007): 241–56. http://dx.doi.org/10.1163/156853007x217186.
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AbstractThe thylacine was a shy and elusive nonhuman animal who survived in small numbers on the island of Tasmania, Australia, when European settlers arrived in 1803. After a deliberate campaign of eradication, the species disappeared 130 years later. Visual and verbal constructions in the nineteenth century labeled the thylacine a ferocious predator, but photographs of individuals in British and American zoos that were used to illustrate early twentieth-century zoological works presented a very different impression of the animal. The publication of these photographs, however, had little effect on the relentless progress of extermination. This essay focuses on the relationship between photographs of thylacines and the process of extinction, between images and words, and between pictures of dead animals and live ones. The procedures, claims, and limitations of photography are crucial to the messages generated by these images and to the role they played in the representation of the species. This essay explains why the medium of photography and pleas for preservation could not save the thylacine.