Artículos de revistas sobre el tema "Photographic criticism"
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Foa, Michelle. "Textual Inhibitions: Photographic Criticism in Late Victorian Britain". History of Photography 36, n.º 1 (febrero de 2012): 33–43. http://dx.doi.org/10.1080/03087298.2011.606724.
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Humm, Maggie. "Virginia Woolf and photography". Comunicação e Sociedade 32 (29 de diciembre de 2017): 387–96. http://dx.doi.org/10.17231/comsoc.32(2017).2768.
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From 2000, criticism on Woolf and the visual has quadrupled in volume. The research work about a photographic Woolf – which include other photographers’ interaction with Woolf such as Gisèle Freund or my own analysis of Woolf and Bell’s personal photo albums – shows how these newer issues of Woolf and photography are now absolutely central in any consideration of Virginia Woolf studies, gaining a noticeable importance when we consider the interdisciplinary issue of photography and gender.
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Van der Vlies, Andrew. "Constellated in a flash: on the dialectics of seeing (beyond stasis) in Zoë Wicomb’s work". English in Africa 49, n.º 2 (4 de noviembre de 2022): 7–25. http://dx.doi.org/10.4314/eia.v49i2.1.
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This essay considers the photograph as representation and metaphor in select work by Zoë Wicomb (b. 1948). It asks how the photograph functions in her prose fiction and criticism in service of a recuperation of late- and postapartheid stasis in potentially affirmative vein. Many of Wicomb’s most illuminating essays and many of her fictions – from her debut, You Can’t Get Lost in Cape Town (1987), to the most recent, Still Life (2020) – engage with photographs, drawing in highly suggestive ways on vivid descriptions of acts of seeing that are indebted to photographic theory. What, I ask, is constellated in the moment captured in the photograph represented in Wicomb’s fiction, as well as in the moment of engagement with the image – by her characters, or by Wicomb herself (including as critic)? How does the photograph function in Wicomb’s reimagination of the possibilities for ethical engagement with otherness beyond the stasis of South Africa’s long post-transition, post-postapartheid moment?
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Graziano, Maítha Elena Tosta y Maria Leandra Bizello. "Os documentos fotográficos na perspectiva Teórico-metodológica da Diplomática um estudo da Fundação Fernando Henrique Cardoso". Páginas a&b Arquivos & Bibliotecas 17 (2022): 116–30. http://dx.doi.org/10.21747/21836671/pag17a7.
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Observing the statusused for photographs in archives today, since the recognition of their character as an archival document, their differencesin organization, packaging and availability for access, it is evident the need to deepen the discussions about these documents in the archival scope. For this reason, it is proposed to discuss photography and its nuances, envisioning its documentary and, consequently, archival nature, from its production context and the theoretical-methodological perspective that diplomatic analysis offers as a valid tool to understand it while result of an action registered in the contemporary world, that is, a document. For that, the methodology applied was the case study, being the Fernando Henrique Cardoso Foundation the research universe. It is concluded that, more than applying diplomatic criticism to photographic documents, it is necessary to reflect on the production of images as documents, as well as their characteristics and their condition of production, that is, their context.
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Geurts, Merlijn. "The Atrocity of Representing Atrocity - Watching Kevin Carter's 'Struggling Girl'". Aesthetic Investigations 1, n.º 1 (16 de julio de 2015): 1–13. http://dx.doi.org/10.58519/aesthinv.v1i1.12001.
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Taking Kevin Carter's famous photograph of a Sudanese 'Struggling Girl' as an example, this article shows by criticizing the work of photography scholar Ariella Azoulay who argues for an ethic, reparative spectatorship that focuses on the social encounters behind the photograph, how discussions about atrocity photography often result in moral debates: discussions that center around the social relations behind photography and blame the photographer, but do not take into account and criticize the photographic representation of the atrocity. By giving an overview of the afterlife of Carter's photograph, the articles shows how such a 'social' focus on photography, easily reaffirms the social inequalities that lies within the practices of atrocity photography.
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Kovach, Jodi. "Architectural Ruins and Urban Imaginaries: Carlos Garaicoa’s Images of Havana". Contemporaneity: Historical Presence in Visual Culture 5 (30 de noviembre de 2016): 72–84. http://dx.doi.org/10.5195/contemp.2016.130.
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Contemporary Cuban artist Carlos Garaicoa juxtaposes photographic images of Havana’s architectural ruins with timidly articulated drawings that trace the outlines of the dilapidated buildings in empty urbanscapes. Each of these fragile drawings, often composed of delicate threads adhered to a photograph of a site after demolition, serves as a vestige of the sagging structure that the artist photographed prior to destruction. The dialogue that emerges from these photograph/drawing diptychs implies the unmooring of the radical utopian underpinnings of revolutionary ideology that persisted in the policies of Cuba’s Período especial (Special Period) of the 1990s, and suggests a more complicated narrative of Cuba’s modernity, in which the ambiguous drawings—which could indicate construction plans or function as mnemonic images—represent empty promises of economic growth that must negotiate the real socio-economic crises of the present. This article proposes that Garaicoa’s critique of the goals and outcomes of the Special Period through Havana’s ruins suggests a new articulation of the baroque expression— one that calls to mind the anti-authoritative strategies of twentieth-century Neo-Baroque literature and criticism. The artist historically grounds the legacy of the Cuban Revolution’s modernizing project in the country’s real economic decline in the post-Soviet era, but he also takes this approach to representing cities beyond Cuba’s borders, thereby posing broader questions about the architectural symbolism of the 21st-century city in the ideological construction of modern globalizing society.
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Cocker, Alan. "Photographers Hart, Campbell and Company: The role of photography in exploration, tourism and national promotion in nineteenth century New Zealand." Back Story Journal of New Zealand Art, Media & Design History, n.º 2 (1 de julio de 2017): 93–103. http://dx.doi.org/10.24135/backstory.vi2.24.
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It has been argued that “the history of New Zealand is unique because the period of pioneer colonization closely coincided with the invention and development of photography”1. However, as the first successfully recorded photograph in the country was not made until the late 1840s, the widespread use of photography came after the initial European settlement and its influence coincided more closely with the development of early tourism and with the exploration and later promotion of the country’s wild and remote places. The photographic partnership of William Hart and Charles Campbell followed the path of the gold miners into the hinterland of the South Island aware of its potential commercial photographic value. Photographers understood the “great public interest in what the colony looked like and inthe potential for features that would command international attention”2. Photography was promoted as presenting the world as it was, free of the interpretation of the artist. By the early 1880s the Hart, Campbell portfolio was extensive and their work featured at exhibitions in London, Sydney and Melbourne. Yet their photographs were criticised for fakery and William Hart’s photograph of Sutherland Falls, ‘the world’s highest waterfall’, promoted a quite inaccurate claim.
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Clayton, Owen. "London Eyes: William Dean Howells and the Shift to Instant Photography". Nineteenth-Century Literature 65, n.º 3 (1 de diciembre de 2010): 374–94. http://dx.doi.org/10.1525/ncl.2010.65.3.374.
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Owen Clayton, "London Eyes: William Dean Howells and the Shift to Instant Photography"(pp. 374––394) Toward the end of the nineteenth century, one of William Dean Howells's many avid readers, finally meeting him in the flesh, expressed surprise that the famed writer was not dead. Although he had not actually departed from the world, it was true that by this time the venerable "Dean"was at a low ebb. While younger authors were taking the novel in directions about which he was, at the least, ambivalent, Howells was aware that his own best work was behind him. Yet, throughout his career, he maintained a desire to test different literary approaches. In England in 1904, Howells tested a conceit that would allow him to keep pace with the literary movements of the day. This consisted of an extended photographic metaphor: an association of himself with the Kodak camera. He used this figuration to move beyond the philosophical foundations of his previous work. Criticism has largely overlooked this endeavor, which Howells buried away in the somewhat obscure travelogue London Films (1905). This essay shows how London Films used its photographic metaphor to question positivistic observational assumptions, the way in which this was a response to William James's Essays in Radical Empiricism (1912), and, finally, why Howells ultimately went back on his attempt to create a Kodak school in fiction.
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Josiah Mosely, Michael. "Another Look at Heideggerian Cinema: Cinematic Excess, Antonioni's Dead Time and the Film-Photographic Image as Copy". Film-Philosophy 22, n.º 3 (octubre de 2018): 364–83. http://dx.doi.org/10.3366/film.2018.0085.
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Within the loose group of studies that are sometimes labelled Heideggerian cinema – studies in which scholars consider film in conjunction with Heidegger's philosophy – little attention has been paid to Heidegger's actual view of cinema. This omission is not only odd (Heidegger's view of film would seem essential for a Heideggerian cinema) but it is also problematic. In the off-hand comments Heidegger directs towards film throughout his collected works he criticises the medium for its covering over of Being, a fact that makes engaging with film through Heidegger's thinking a questionable project. The present article aims to address this omission and to provide a conception of Heideggerian cinema that does not ignore, but answers, Heidegger's criticism. It argues that it is not the technological nature of cinema that is the source of Heidegger's hostility towards the medium but his conception of the film-photographic image as a transparent copy of the world. It is on this basis that cinema is denied the capacity to manifest Being and hence is subject to critique. I then argue that Thompson's notion of cinematic excess reveals that the film-photographic image need not be as transparent as Heidegger assumes and that a cinematic presentation of Being is possible. To explore this idea further the article considers the use of dead time by Michelangelo Antonioni, particularly in his film L'eclisse.
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Szerszeń, Tomasz. "Konstruowanie atlasu. Surrealizm - fotografia - Reprodukcja". Artium Quaestiones, n.º 33 (30 de diciembre de 2022): 163–81. http://dx.doi.org/10.14746/aq.2022.33.7.
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“The history of art is [...] the history of what is photographable,” wrote André Malraux. Surrealism and related interwar visual phenomena add an interesting context to this observation. If we look at surrealism through the prism of the numerous magazines that accompanied it, we can see the special role of photographic reproduction. It seems that it plays a slightly different role there than in other practices of the interwar avant-garde: it tends to be a visual form of thinking, establishing photography as a crucial medium. The case of the journal “Documents” (1929–1930), existing on the fringe of surrealism and anthropology, seems particularly interesting. It can be seen as a kind of atlas of visual forms, in which the problem of reproductions of artworks and artefacts from different cultures was constantly problematised. The cannibalisation of various types of iconography was related not only to discussions on cultural visual appropriation, or the criticism of various conventions of seeing and making images, but also to a broader project whose aim was the decolonisation of seeing. It assumed a re-examination of European (art) history – in a radical, non-hierarchical and non-encyclopaedic way. The aim of the editors of the journal was to move away from the metaphysical and ocularcentric paradigm in favour of a more horizontal and relational (and in effect anthropological) positioning of a work of art. The question of reproduction is problematised in “Documents” in terms of a discussion on the aura of works and objects from other cultures: displaced and uprooted from their cultural context. The subversive photographic practices of the surrealists related to the status of copies and reproductions are also contextualised here, as are two monumental projects based on reproduction: Aby Warburg’s Mnemosyne Atlas (1924–1929) and Malraux’s Museum of the Imagination (1947–1951), or a “photographic album of universal culture”, but which were created in the face of similar problems to “Documents” (the visual form of knowledge; the “universal” in the face of colonialism; the relationship between artwork and reproduction). All three projects were a kind of response to the globalisation of images and the crisis of cultural memory. Here the use of the atlas form and photographic reproduction becomes an attempt to establish a new epistemic paradigm.
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Kalekin, V. V., L. G. Kapustin y D. I. Petin. "Supreme Ruler A.V. Kolchak on His Trip to the Tobolsk Front: Revisiting the Analysis of an Unknown Photo Document (1919)". Herald of an archivist, n.º 2 (2021): 390–404. http://dx.doi.org/10.28995/2073-0101-2021-2-390-404.
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The article is to analyze an unknown and previously unintroduced into scientific use photographic document concerning front-line activities of Admiral A. V. Kolchak during the Civil War. The relevance of the work springs from the fact that scholars quite rarely provide source analysis of film and photo documents as independent sources on the history of the Civil War in Russia within the framework of interdisciplinary practices. At the same time, there is a significant interest of national scientific community in this historical figure and it has been causing sharp polemical discussions for a century already, including, at times, contradictory judgemental statements. The photograph we are introducing into scientific use was discovered in 2020; it is in permanent storage in the fonds of the Center for Historical Heritage of River Workers and Patriotic Education, which is a part of the Omsk Institute of Water Transport structure. It should be emphasized that most distinctive feature of the photograph is its everyday and non-staged nature, whereas the overwhelming majority of A. V. Kolchak’s known images are official. The authors have used comprehensive methodological approach based on a combination of anthropological approach to source, use of biographical and problem-chronological methods with its source study criticism (both external and internal). This theoretical set of methods has allowed the authors to interpret the revealed visual document as well as possible, linking its appearance with concrete historical situation and state activities of Admiral A. V. Kolchak at his post of the Supreme Ruler in the final stage of the Omsk period of his biography. This publication may be of interest to researchers of the Civil War and the White Army in Eastern Russia, of Admiral A.V. Kolchak’ biography in his time as the Supreme Ruler, as well as to specialists in source studies, study of visual documents, and history of everyday life.
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Fraser, Benjamin R. "Problems of Photographic Criticism and the Question of a Truly Revolutionary Image: The Photographs of Mario Algaze, Juan Rulfo, and Manuel Álvarez Bravo". Chasqui 33, n.º 2 (2004): 104. http://dx.doi.org/10.2307/29741885.
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Salas Klocker, Luis Alberto. "Salones darianos: fotografía, arte y literatura en la crónica modernista". (an)ecdótica 5, n.º 1 (29 de enero de 2021): 84–100. http://dx.doi.org/10.19130/iifl.anec.2021.5.1.19785.
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Based on what it has been called the salones darianos, that is, the chronicles that Darío wrote about several art exhibitions that he visited, this work aims to reflect on the role that the image played in the cultural project of modernismo. At the turn of the century, the image’s technological reproducibility broke into both the press and art salons. This was perceived by Darío, who explored the relationship of the photographic image with the incipient cultural industries. Less known than Mundial and Elegancias magazines, the first of Darío’s projects that included a strong presence of images, that is, the “Suplemento Semanal Ilustrado” of La Nación, goes beyond the lettered bias of literary criticism and opens new horizons to modernismo studies. Although this magazine was not directly under his direction, it does coincide with one of the high points of his career in the Argentine newspaper. Darío was for a time the main animator of this magazine, so his performance can be read as a scale model of his operations in pursuit of an expanded artistic field.
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Quagliati, Noemi. "Beyond the Whiteness". Sophia Journal 7, n.º 1 (15 de diciembre de 2022): 25. http://dx.doi.org/10.24840/2183-8976_2022-0007_0001_4.
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Saverio Salvioni, Cava di Ravaccione, 1810–1813 (Source: Archivio di Stato Massa e Pontremoli) Marble extraction in the Italian Apuan Alps has been known since Roman times, and its historical importance is symbolized by masterpieces of Western art history. However, the Carrara marble industry has recently received harsh criticism for operating in the protected area of the Apuan Alps Regional Park, recognized by UNESCO since 2015. Environmental and social concerns about mining have arisen from the extreme acceleration of all the productive phases of the extractive industry. From the mid-twentieth century, the exploitation of geological deposits of marble grew exponentially thanks to the development of powerful extraction technologies and a global export economy that creates only relatively few occupations in Carrara. Within this context, photographic and cinematographic projects have increasingly focused on the environmental risks created by the marble mining industry. This article shows how visual representations of Carrara have changed in recent years via an analysis of three case studies: the internationally acclaimed documentary Anthropocene: The Human Epoch (2018), the climbing project and Italian short film Carie (Cavity 2019), and Lorenzo Shoubridge’s naturalistic photographs in Apuane: terre selvagge (Apuan Wildlands 2018). These case studies offer an innovative perspective on the landscapes of marble extraction. Previously, these landscapes were represented following other visual trends emphasizing the technological sublime found in the geometric shapes of the white quarries, the working conditions of marble laborers, and the myth of the purity of marble used in artistic sculptures. The three examples analyzed in this paper attempt to go ‘beyond the whiteness’ by focusing on the scale of environmental destruction (Anthropocene: The Human Epoch), the more-thanhuman perspective (Apuane terre selvagge), and the social struggle for preserving a mountain region through creative solutions (Carie). In other words, new aesthetic and ethical sensibilities are challenging established twentieth-century narratives of the Carrara marble quarries by focusing on a new element: the environment.
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Gal, Nissim. "The Language of the Poor: Bible Stories as a Critical Narrative of the Present". IMAGES 4, n.º 1 (2010): 82–108. http://dx.doi.org/10.1163/187180010x547657.
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AbstractThe series of photographs called Bible Stories (2003-2006), made by the photographer Adi Nes, offers a visual interpretation of the biblical narrative as a source for a critical reflection on contemporary culture. The Bible Stories series uncovers the aesthetic, ethical and social codes of the current visual culture. Nes processes the biblical text and rereads it via photography. The renewed appearance of the bible stories connects contemporary photorealism with the tradition of biblical illustration. The contemporary appearance and interpretative recomposition of the biblical episodes invert the hierarchies exemplified in some of the stories, and restructure the apparent gender relations, opening up a way to societal Others in the present, and conscripting the transcendent status of the text in order to criticize contemporary culture through the creative act.
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Lukaszewicz, Marta. "Reception of Religious Themes in Nikolai Leskov's Works at the Turn of the 20th Century". Vestnik Tomskogo gosudarstvennogo universiteta, n.º 468 (2021): 34–43. http://dx.doi.org/10.17223/15617793/468/4.
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The article aims to consider tendencies predominating in literary criticism at the turn of the 20th century in its reception of religious issues in Nikolai Leskov's works, to identify the peculiarities of their understanding by representatives of diverse groups and trends, to examine their influence on changes in Leskov's literary reputation. The role of the spiritual atmosphere of the Silver Age in changing attitudes towards Leskov's legacy is mentioned, as well as the consequences of the duality of his reception formed at that time. The research materials consists of various works of literary criticism (articles, notes, reviews) written and published in Russia between 1895 and 1917. They are studied using the methods of the thematic, discourse and comparative analysis of the text. The research demonstrated that the comprehension of Leskov's legacy, which began at the end of the writer's life, took place in the critical period of the coexistence of realism and symbolism in literature, and sociological and modernist trends in criticism. Leskov's literary works attracted mainly critics of the sociological trend, who emphasized the writer's evolution from a photographic depiction of Russian Orthodox clergymen's everyday life to the finding of peace, rational and moral understanding of religiosity akin to Protestantism and Leo Tolstoy's teaching. The approach of the less numerous modernist critics was different as they appreciated Leskov's depiction of the mystical depths of Orthodoxy, his penetration into the secrets of the popular faith and ability to juxtapose them with the mundane life. They evaluated the late works of the writer as less interesting, excessively rationalistic and moralising. Thus, the analysis of literary reviews of the turn of the 20th century allows making a conclusion about a strong influence of the artistic principles of the two main literary movements of the epoch, and critics' desire to incorporate Leskov into the modern context, thereby updating his legacy. Such a possibility is, in particular, the result of Leskov's ideological evolution and of the peculiarity of his manner of writing, with its elusive author's position, which still makes it feasible to formulate contradictory assessments of his works and personal religiosity, varying between a ‘heretic' and ‘profoundly Orthodox'. In addition, the author observed the fundamental importance of the category of literary reputation and noted the fact of transition from assessing the personality and socio-political stance of the author to evaluating his artistic output. It was also due to the beginning of the ‘linguistic turn' of the literary critics of the time, which resulted in the reception of Leskov's works becoming more complex and multifaceted. The contradictory assessment of his works and, in particular, their religious component, still continue to shape the position of many contemporary researchers.
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Tahalea, Silviana. "KRITIK FOTOGRAFI: MENDESKRIPSIKAN SEBUAH FOTO DARI SISI SUBJEK, BENTUK, MEDIA DAN GAYA". Jurnal Dimensi Seni Rupa dan Desain 16, n.º 1 (1 de septiembre de 2019): 85. http://dx.doi.org/10.25105/dim.v16i1.6165.
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<p><strong>Abstract</strong></p><p><strong></strong><br />In the formal education of bachelor photography, the knowledge and ability to criticize a photo is fundamental, this is what distinguishes bachelor photography from photography courses, the ability to criticize a photo with the aim of defining photos, interpreting photographs, explanations aesthetic or aesthetic argumentation. Referring to Terry Barrett’s writing about photo criticism, there are several stages to criticizing<br />or interpreting a photo, namely: Describing photos, interpreting photos and evaluating photos. As an initial step, it will be explained about describing a photo. How to start describing a photo, what are the elements that can be described in a photo and how to be able to describe a photo based on the actual facts. Descriptive information includes statements about the subject matters of the photo, the media used, forms of design<br />elements, the surrounding environment, including information about the photographer who made the photo, time of photo taking, issues and social phenomena that were popular when taking photos. Describing a photo is the first approach that can be used to analyze a photo.</p><p><br /><strong>Abstrak </strong></p><p><strong></strong><br />Dalam keilmuan formal fotografi jenjang strata-1, pengetahuan dan kemapuan untuk mengkritik sebuah foto menjadi hal yang fundamental, hal ini yang membedakan keilmuan fotografi strata-1 dengan kursus fotografi, yaitu kemampuan untuk mengkritisi sebuah foto dengan tujuan untuk mendefinikan foto, menginterpretasi foto, penjelasan estetik maupun argumentasi estetik. Mengacu pada tulisan Terry Barret mengenai kritik foto, ada beberapa tahapan untuk mengkritisi atau memaknai sebuah foto yaitu: Mendeskripsikan foto, Menginterpretasi foto dan mengevaluasi foto. Sebagai tahap awal akan dipaparkan mengenai mendeskripsikan sebuah foto. Bagaimana memulai mendeskrisikan sebuah foto, apa saja elemen yang dapat dideskripsikan dalam<br />sebuah foto dab bagaimana caranya agar dapat mendeskrisikan foto sesuai dengan fakta yang sebenarnya. Informasi deskriptif meliputi pernyataan tentang subject matters foto tersebut, media yang digunakan, bentuk-bentuk elemen design, lingkungan sekitar, termasuk informasi tentang fotografer yang membuat foto tersebut, waktu pengambilan foto, issue dan gejala sosial yang popular saat waktu pengambilan foto. Mendeskrisikan sebuah foto merupakan pendekatan yang paling mudah yang dapat digunakan untuk menganalisa sebuah foto.<br /><br /></p>
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Denysenko, Iryna, Olena Skalatska y Oleg Parkhitko. "Misinformation in the Information Space of Ukrainian Society during the Covid-19 Pandemic". Postmodern Openings 12, n.º 3 (10 de agosto de 2021): 230–44. http://dx.doi.org/10.18662/po/12.3/337.
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The specificity of misinformation about Covid-19 which was outspread in the media landscape of Ukrainian society was demonstrated in the article. The authors relying on the basics of postmodern theory within interdisciplinary discourse trace the means of forming misinformation and its influence on changing worldview landmarks of humanity. The authors underline that information in the postmodern conception of Jean Baudrillard is also capable to destroy its own content, communication and social ground. Misinformation about Covid-19 is «a stage setting of communication» since it only creates insight into sense and is outspreaded with different channels (traditional and new media) with usage of photographic and video materials, emotional headlines and messages. Fake materials which have been outspreaded in online media and social networks are analyzed in the article. The authors found out that fake messages outspreaded in Ukrainian media refer to the following topic (the origin of Covid-19; frauds under the guise of doctors try to get the money of nationals; fictional money penalties for breaking the rules of quarantine; pseudomedical recommendations for taking some medicines and means of diagnosis Covid-19; statements of public authorities about strengthening the regime of quarantine; the speed of spreading Covid-19 in other countries; insufficient readiness of the Ukrainian society to Covid-19, etc.). It is stated that the quick expansion of misinformation was facilitated by the fact that the nationals of Ukraine took information without criticism, without fact-checking, since they moved to a new space of life of the individual and made «a stage setting of sense».
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Purnomo, Aji Susanto Anom. "Fotografi Di Era Media Sosial : Studi “Toko Memorabilia” Karya Agan Harahap". Jurnal Bahasa Rupa 1, n.º 2 (21 de abril de 2018): 81–88. http://dx.doi.org/10.31598/bahasarupa.v1i2.200.
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The development of photography technology in the era of social media currently contribute various problems that need to be studied and reflected. One of them is about the essence or meaning of the presence of "photography" itself. This paper reflect the essence or meaning of photography in the social media based on the theory of reading photographs "cynical phenomenology" by Roland Barthes through a case study study of "Toko Memorabilia" which is one of the social criticisms by the artist Agan Harahap. Memories Commodification and visual carnivals are two instruments of meaning that the author discovers in his critical reflection journey and will be described further through this study.
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Fackler, Katharina. "Of Stereoscopes and Instagram: Materiality, Affect, and the Senses from Analog to Digital Photography". Open Cultural Studies 3, n.º 1 (1 de enero de 2019): 519–30. http://dx.doi.org/10.1515/culture-2019-0045.
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Abstract This article addresses popular claims that photography has been “dematerialized” in the digital era. It engages a wide range of critical writings about photography from the early 19th to the 21st century to demonstrate that different versions of these claims have always formed an important part of photography criticism. However, rather than doing justice to photographs’ materiality or their complex entanglements with what has been considered material and immaterial, human and nonhuman, they have tended to somewhat limit our understanding of the medium’s material, sensory, and affective valences. This article argues that a sustained engagement between visual culture studies, sensory studies, and the new materialisms can help us understand more fully both analog and digital photography’s contingent position within the material world, varying sensory ideologies, and different subjectivities.
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GUL, Sinan. "Dinçer Sümer'in Eski Fotoğraflar Adlı Oyunu Üzerinden Kimlik Krizi ve Türk Tiyatro Eleştiri Anlayışının Analizi". Türkiye Araştırmaları Literatür Dergisi 20, n.º 39 (7 de julio de 2022): 0. http://dx.doi.org/10.55842/talid.980637.
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Dinçer Sümer’s play Old Photographs is often dismissed by scholars as the story of a prostitute although it contains lingual and social elements about the politics of identity that pursues the dilemmas and conflicts Turkey experienced in the 1970s. First part of this article highlights how the fractures and unification of narratives in Old Photographs manifest an opposition to conventional structure of characters and plot, and refuse the fixity and formula of traditional drama. Thus, characters in the play are unique as they defy categorization and resist conceptualization. By disturbing grand narratives and focusing on identity crisis, Old Photographs deserves more textual scrutiny. The article also focuses on scholarly works that analyze Old Photographs and displays the problem in Turkish literary theory which focuses on drawing categories rather than scrutinizing textual merits of individual works. This problem in critical theory results in an impartial and inaccurate portrayal of Turkish drama.
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Michalowska, Marianna. "Photography’s Narrative Spaces – Stories About Man-Altered Landscape". Athens Journal of Humanities & Arts 9, n.º 4 (27 de septiembre de 2022): 275–90. http://dx.doi.org/10.30958/ajha.9-4-1.
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In the seminal text from 1982, Rosalind Krauss wrote about the discursive spaces of photography. She stated that varied interpretations of landscape photography depend on the image circulation. The "new topography" in photography provides in artistic language data on the situation of the natural environment. Therefore, it is not just a matter of changing fields of discourses but narratives through which discourses are created. In the paper I discuss the narrative contexts of photography, in regard to Krauss's concept of discourse and narratology by Mieke Bal. Examples are modern landscape photography in the new topography style. The goal of this artistic movement, which can be dated to the mid-1970s is to document and reflect on changes that occur in the environment through human activities (mainly related to industry). Today, however, artists' voices are increasingly commenting on climate change and environmental disaster. Therefore, these are activities that can be included in the field of environmental art (in regard to T. J. Demos concept) or, more broadly, criticisms directed towards capitalocene and anthropocene consequences. I will focus on three photographic projects presenting peripheral areas in Poland: documentation of the course of the Warta entitled 808.2 km by Waldemar Śliwczyński, Jedynka (No. 1) by Maciej Rawluk and Urodzaj (The Harvest) by Michał Woroniak.
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Kamnev, Vladimir M. y Lolita S. Kamneva. "Mikhail Lifshits, György Lukács and theory of aesthetic reflection". Vestnik of Saint Petersburg University. Philosophy and Conflict Studies 36, n.º 4 (2020): 721–30. http://dx.doi.org/10.21638/spbu17.2020.410.
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Mikhail Lifshits and György Lukács are known as authors of an absolutely original concept of the cognitive force power of art. The theory of reflection which had a reputation of as one of the most inert rigid and dogmatic aspects of the philosophy of Marxism in general was the cornerstone of this concept. Quite often such a negative reputation of the theory of reflection affects also the general negative relation to an attitude towards the aesthetics of Lifshits and Lukács. However, actually this theory was uniquely interpreted by received from Lifshits and Lukács very original interpretation. First, they always emphasized the fact that the theory of reflection is not a Marxist invention, and thatbut is the it represents a result of a long development of the classical tradition of philosophical and aesthetic thinking. Secondly, reflection itself cannot be understood as a photographic copying of reality at all. Of great importance is the Very important is the circumstance that the theory of aesthetic reflection is justification of the objective nature of art, justification of realism as the highest artistic method of for the knowledge of reality. At the same time, the theory of reflection acts as the methodological tool of for criticism of modernism in art. Attentive Carefully studying of the theory of aesthetic reflection by of Lifshits and Lukács allows makes it possible to reveal identify certain investigations consequences, which owing for to various reasons remained only implied in their texts. FSo, for example, the statement assertion that the realism is the highest method of art istic cognitionknowledge, allows to us to understand the negative relation attitude of Lifshits and Lukács to the art of socialist realism. The Historical and aesthetic reconstruction of the qualification of such a phenomenon of art of the 20 th century art as magical realism, and its dispositions in the opposition of realism and modernism which is key essential for an the aesthetics of Mikh Lifshits and G. Lukács, opposition of realism and modernism can appearmay turn out to be very interesting.
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Little, David I. y Bernard Fichaut. "VISUAL COMPARISONS OF SELECTED SHORES AFFECTED BY THE Prestige OIL SPILL, NORTHERN SPAIN 2002–2004". International Oil Spill Conference Proceedings 2005, n.º 1 (1 de mayo de 2005): 685–88. http://dx.doi.org/10.7901/2169-3358-2005-1-685.
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ABSTRACT Walkover and photographic surveys were conducted on four occasions up to February 2004 on shorelines of Galicia, Asturias and Vizcaya that were severely affected by Heavy Fuel Oil (HFO) from the November 2002 Prestige incident. The geomorphology and ecology impacts resulting from both the oil and cleanup actions were observed by experienced scientists. Some cleanup methods worked well, and environmental disturbance was minimized. However, inefficient or over-zealous treatments also occurred, particularly early in the incident response. The study showed that rocky headlands are now often clean, and that wave-cut rock platforms have been cleaned effectively by high-pressure flushing. Maritime vegetation has, however, been trampled and oiled secondarily in the supra-tidal zone. Backshore botanical impacts resulted from cleanup equipment lay-down, vehicle refueling, and vehicular and pedestrian traffic. In some cases, vegetation and often soil removal during construction of access routes across the backshore will mean permanent adverse impact. Boulder and cobble storm berms were often oil-saturated above the mean high water level. Some of these are in fact relict geomorphic features inherited from previous higher sea levels during the interglacial periods, and so natural recovery would be very slow indeed. These coarse deposits were commonly treated by inefficient storm berm relocation, although good results were also achieved elsewhere. Numerous cases were seen of underlying and non-oiled finer sediments being exposed to erosion. Vegetation and substrate impacts were most severe where oil quantities were large and cleanup protracted or imperfectly supervised. Generally, estuaries were well protected by booming, and were only slightly oiled. Sand dunes have also escaped the worst impacts of oil and intrusive cleanup. There was, however, criticism of the government's handling of offers of advice from Spanish scientists expert in shoreline dynamics. This was in contrast to the international cooperation that typified the tracking, modeling and cleanup of oil offshore. It is recommended that existing best practices (e.g. Shoreline Cleanup Assessment Technique; SCAT) be more widely adopted in spills with potentially prolonged and injurious shoreline cleanups.
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Da Silva, Guilherme Ghisoni. "What does a presentist see when she looks at photographs of dead relatives?" Laocoonte. Revista de Estética y Teoría de las Artes, n.º 5 (13 de diciembre de 2018): 97. http://dx.doi.org/10.7203/laocoonte.0.5.12330.
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The objective of this paper is to bring to the foreground some metaphysical commitments present in the debate about the relation between photography and the past. I will try to answer the question: what does a presentist see when she looks at photographs of dead relatives? According to presentism, if a particular object does not exist in the present, it does not exist simpliciter. For this reason, in Priorian presentism, there can be no de re (singular) propositions about past particulars. Part of the requirement for singularity would be played by reality, which suffers metaphysical restrictions from the passage of time. After outlining the metaphysical and semantical debate about presentism, I will briefly explore some theories of photography and separate them in two groups: de re theories that accept that through photography we indirectly perceive the past object itself and de dicto theories that deny it. Then, I will connect those theories to the problem faced by presentism, showing that a presentist must limit herself, in the case of objects that no longer presently exist, to a de dicto approach of photography. In other words, a presentist cannot accept that through photography she can indirectly see the past object itself. There would be nothing in the past for her to be remotely acquainted with or to demonstratively single out. I attempt to develop a presentist theory that could account for the descriptive and causal referential elements of photography using John Zeimbekis’ theory coupled with Craig Bourne’s presentist causal theory of reference (that jettison the Millian element of the causal theory). I will show how this theory is different from Kendall Walton’s counterfactual theory (also accepted by Dominic Lopes) and explore a criticism that could be formulated from his perspective.
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Trijić, Vesna. "Literary Criticism and the Media". Transcultural Studies 11, n.º 1 (23 de diciembre de 2015): 72–84. http://dx.doi.org/10.1163/23751606-01101008.
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This article deals with literary reviews published in newspapers and their subordination to modern media which tend to give priority to non-verbal forms of communication, such as photography and the graphic shape of titles, which may control or overshadow the meaning of a text. In order to survive in such a context, book reviewers usually accept the language of journalism which imposes an ideological and commercialized dimension on them, forcing them to abandon their original discourse based on literary criticism. The paper poses the question whether there is any place left for literary criticism in the modern media or has criticism proper been relegated to specialized journals?
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O’Toole, Sean William. "Uncommon criticism: Reading Ivan Vladislavić’s collected work as art criticism". Journal of Commonwealth Literature 52, n.º 1 (marzo de 2017): 11–26. http://dx.doi.org/10.1177/0021989416676865.
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Johannesburg author, essayist, and editor Ivan Vladislavić has a longstanding interest in art, an interest richly recorded in his literary corpus. Since publishing his debut work of fiction, Missing Persons (1989), Vladislavić has repeatedly dwelled on artworks in his fiction and non-fiction writing. His literary corpus is studded with descriptions of paintings, sculptures, photographs, ceremonial statues, murals, and other, more obscure pieces of urban flotsam given their own artistic agency in his fecund imagination. This article discusses his interest and entanglement in art from a threefold perspective: thematically, biographically, and theoretically. It argues that the art world has consistently functioned as a laboratory for the author to refine his thoughts, albeit as a literary writer, not an art critic. While Vladislavić does not identify as an art critic, this article argues that his writing on art and broader literary output represent a valuable critical resource and an important intervention in fervid and unresolved debates around the definition of art criticism. The article begins by identifying thematic constellations that recur throughout Vladislavić’s work, placing these in conversation with salient aspects of the author’s early professional biography. It concludes by proposing that Vladislavić’s oeuvre can be read as a historically mindful, crisis-orientated form of art criticism.
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Prabha, Ashwini. "'Just the gun is scary'". Pacific Journalism Review : Te Koakoa 8, n.º 1 (1 de junio de 2002): 169–74. http://dx.doi.org/10.24135/pjr.v8i1.741.
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Husselbee, L. Paul y Amy Ann Adams. "Seeking Instructional Value: Publication of Disturbing Images in Small Community Newspapers". Newspaper Research Journal 17, n.º 3-4 (junio de 1996): 39–52. http://dx.doi.org/10.1177/073953299601700304.
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Paul, John. "A Festival of Kinship, Defiance, and Ethnic Survival". Journal of Festive Studies 1, n.º 1 (13 de mayo de 2019): 78–105. http://dx.doi.org/10.33823/jfs.2019.1.1.29.
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In the fall of 2016, I traveled to North Dakota as an invited guest of the Standing Rock Sioux Tribe to document the emergent encampment of American Indians and their allies who had gathered to protest the construction of the Dakota Access Pipeline. This work explores some of these lived protests and the festival-like realities (as well as the strengths and criticisms of the "festival” notion) that were produced in such protestive actions. Ultimately, this article has three goals. First, it seeks to document, via photographs and text, some of the mobilization efforts of protesters against a segment of the oil and gas industry operating on American Indian land. Second, it questions the scholarly concept of "festival as protest"—again, highlighting the strengths and controversies of the application of this term to the Standing Rock Protests. Third, it shows how photography can complement and enhance qualitative field research.
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MÖLLER, FRANK. "The looking/not looking dilemma". Review of International Studies 35, n.º 4 (octubre de 2009): 781–94. http://dx.doi.org/10.1017/s0260210509990180.
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AbstractWhen confronted with images of war and other forms of human suffering, not looking is not an option, not only because we are permanently exposed to images but also because it would not seem to be a morally tenable position. However, looking at images of human suffering is often said to prolong this very suffering and to fix human subjects as victims. Especially when acts of violence have been committed in order to produce images of these very acts the relationship between viewing the images and participating in the acts of violence qua viewer appears to be uncomfortably close indeed. Thus, looking is not an option, either. This article, in the first part, engages with standard criticisms of photography, especially with accusations according to which photographs aestheticise that which they depict and desensitise their viewers. In the second part it discusses Alfredo Jaar's and Jeff Wall's work in order to show possible ways to circumvent the looking/not looking dilemma.
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Pramasepta, Wipti Aga, Christina Rochayanti y Kartika Ayu Ardhanariswari. "CONTENT ANALYSIS OF SOCIAL CRITICAL IN ANTITANK-PROJECT INSTAGRAM ACCOUNT". Indonesian Journal of Communication Studies 13, n.º 1 (1 de junio de 2020): 12. http://dx.doi.org/10.31315/ijcs.v13i1.3849.
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Criticism is one element that can keep the existing system in its tracks and not get out of the way the system should be. Anti-tank has initially been one of the artists and activists who expressed their criticism using posters in Yogyakarta. This study aims to determine the content of criticism in the Antitank Project and the tendency of criticism. The method is content analysis. The theory used is the spiral silence theory and Habermas' critical theory. The study population amounted to 192 images in the period of January 2016 - December 2018. The study sample was taken 46 pictures to be examined because of the repetition of several photographs. The research results show that there is a tendency in Antitank criticism, namely in the political field, in which there is an important element of power and has high publicity. The object of criticism of Anti-tank's dominant work is the state government, which holds the country's highest authority. Communication of indirect criticism works or symbols becomes dominant in Antitank social criticism works. The use of symbols is more interesting and wise, to reduce conflict with the object of criticism. Antitank uploads through Instagram to get broad support and increase the approach to his work to cause movement to a broad audience by the theory adopted, namely the spiral of silence theory.
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ZAHAR, IWAN, KURNIA SETIAWAN y TENGKU FAUZAN TENGKU ANUAR. "TAXONOMY OF PHOTO CATEGORIES". International Journal of Creative Future and Heritage (TENIAT) 9, n.º 2 (29 de septiembre de 2021): 109–27. http://dx.doi.org/10.47252/teniat.v9i2.744.
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AbstractSelecting photographs for teaching photo criticism can be a difficult task. This research aims to construct the taxonomy of photo categories for teaching purposes and teaching guidelines. This research used a questionnaire and a semi-structured interview with 125 participants made up of 39 male and 86 female, 94 Malays, 12 Chinese, 16 Indians and 3 Ibans. All participants exposed to five different photographs: advertising photographs, journalistic photographs, landscapes, and two fine arts photographs. We used three questions as research instruments for 125 participants to judge each photo: What do you see? What does it mean? How do you know? Also, we used Barrett's criticism models to teach, make a rubric, and evaluate the photographs and our research instruments. From our photo teaching experience, combined with this research, students usually started from low taxonomies. They followed through to high taxonomies, or in a sequence from advertising photographs, journalistic photographs, and landscapes (fine art) to modernist photographs and postmodernist photographs (fine art). They did not have difficulty interpreting elements, design principles, and photo techniques, but they did construct it challenging to analyze the context of postmodern photographs, especially gender issues.
AbstrakMemilih gambar untuk mengajar kritikan foto boleh menjadi tugas yang sukar. Penyelidikan ini bertujuan untuk membina taksonomi kategori foto untuk tujuan pengajaran dan panduan pengajaran. Penyelidikan ini menggunakan soal selidik dan temu bual separa berstruktur dengan 125 peserta terdiri daripada 39 lelaki dan 86 perempuan, 94 orang Melayu, 12 orang Cina, 16 orang India dan 3 orang Iban. Semua peserta terdedah kepada lima gambar yang berbeza: foto iklan, foto jurnalistik, pemandangan, dan dua gambar seni rupa. Kami menggunakan tiga soalan sebagai instrumen kajian untuk 125 peserta menilai setiap foto: Apa yang anda lihat? Apakah maksudnya? Bagaimana anda tahu? Kami juga menggunakan model kritikan Barrett untuk mengajar, membuat rubrik, dan menilai gambar dan instrumen kajian kami. Dari pengalaman mengajar foto kami, digabungkan dengan penyelidikan ini, pelajar biasanya bermula dari taksonomi standard. Mereka mengikuti hingga taksonomi tinggi, atau dalam urutan dari foto iklan, foto jurnalistik, dan pemandangan (seni rupa) hingga foto modernis dan foto pascamoden (seni rupa). Mereka tidak mengalami kesukaran untuk menafsirkan elemen, prinsip reka bentuk, dan teknik foto, tetapi mereka membuatnya sukar untuk menganalisis konteks foto pascamoden, terutama masalah gender.
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Smith, Philippa K. y Helen Sissons. "Social media and a case of mistaken identity: A newspaper’s response to journalistic error". Journalism 20, n.º 3 (15 de diciembre de 2016): 467–82. http://dx.doi.org/10.1177/1464884916683551.
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Journalists can obtain information faster than ever before and interact with a variety of sources across multiple platforms from Facebook to Twitter without leaving their desk. The pressure to get stories online as soon as possible is not without its drawbacks, however. Incorrect information and photographs can be published even when not properly verified and, although these mistakes can be rectified quickly once identified, the credibility of a news organisation is at risk. Our research was prompted by the chance capture of a photograph published in a daily newspaper that mistakenly identified a New Zealand-born Israeli soldier who was shot dead during a firefight in Gaza in 2014 as an American actor. This presented an opportunity to investigate and understand the challenges journalists face in sourcing information in the digital age. Our research takes a two-pronged approach. First, we establish what went wrong in the newsroom that led to this case of mistaken identity drawing public criticism and ridicule, and second, we analyse the editor’s apology to highlight the news organisation’s efforts to restore its image and regain the trust of its readers in the professionalism of its journalism.
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Halegoua, Germaine R. y Ghiyong Patrick Moon. "Korean travel selfies as contested placemaking practices". Convergence: The International Journal of Research into New Media Technologies 27, n.º 3 (junio de 2021): 649–63. http://dx.doi.org/10.1177/13548565211014457.
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Selfies allow us to exert control over how we are seen and to construct our identity through the people, places, and activities that we imbue with value. The composition of the image, situation, and location photographed indicate aesthetic and ontological choices that reveal cultural values, performances of identity and social position of the person taking the selfie. When read as digital placemaking practices, travel selfies become salient to producers and audiences as political and performative expressions of identity and one’s place in the world. This article examines the travel selfie within the South Korean context and argues that thinking about selfies as placemaking practices informs the productive and potentially empowering nature of these photographs, which simultaneously conform to and contest neoliberal consumerist ideologies. The authors analyze a case study in which the placemaking practices of selfies are represented and critiqued. We argue that these digital placemaking practices become sites where young people’s imaginations, aspirations, and frustrations about social hierarchies, national imaginaries, and class status are expressed and debated through representations of international travel. Through textual and discourse analysis of the images and virulent public criticism faced by South Korean females who travel abroad and document their experiences on Instagram and Naver, we examine the tensions that emerge regarding expressions of the ‘spatial self’ online.
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Gray, Timothy. "Hip Americana: The Cultural Criticism of Greil Marcus". Prospects 27 (octubre de 2002): 611–39. http://dx.doi.org/10.1017/s0361233300001356.
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In the summer of 1976, as many in our nation were getting ready to celebrate the bicentennial and listening to AM radio shlock like “Afternoon Delight,” I persuaded my father to buy me an oversized red paperback I had been perusing at the local mall. The book was theRolling Stone Illustrated History of Rock & Roll, a landmark collaboration edited by Jim Miller. Throughout my teenage years, I would pour over its many photographs, memorize its discography sections, and take instruction and courage from its lively, opinionated writing. Looking back at theIllustrated Historya quarter of a century later, I find that its list of contributors reads like a “Who's Who” of rock criticism. Peter Guralnick, Robert Christgau, Lester Bangs, Robert Palmer, Jon Landau, and Dave Marsh are just a few of the writers who went on to make their names as critics, musicologists, and biographers. On this occasion, they managed to weave the separate strands of rhythm and blues, folk, country, and rock into a cohesive tapestry.
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Kennedy, Liam. "Precocious Archaeology: Susan Sontag and the Criticism of Culture". Journal of American Studies 24, n.º 1 (abril de 1990): 23–39. http://dx.doi.org/10.1017/s0021875800028693.
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If Susan Sontag is not a writer behind whom a school or substantial following has gathered, this has much to do with the unsystematic nature of her work. Her studies of thought and culture are not the work of a systematic theorist; they are too much involved with personal taste and response, too free-ranging and open-ended to attract disciplined followers. Sontag's writings receive little direct critical attention at present, though she is often quoted on photography or film, or used to support various theses on post-modernism. Her writings reward more rigorous analysis, especially as the work of this American critic would seem to complement and yet significantly depart from the theorizing of more commonly acknowledged European thinkers – structuralist and post-structuralist – with whom she is contemporary.
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Mattiolli, Isadora Buzo. "O corpo é a camuflagem: construções ficcionais de si na produção artística de mulheres nos anos 1970". Revista PHILIA | Filosofia, Literatura & Arte 2, n.º 2 (10 de noviembre de 2020): 216–43. http://dx.doi.org/10.22456/2596-0911.104596.
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A crítica feminista elaborou a questão da representação na arte de diferentes maneiras. Nessa perspectiva crítica, um dos problemas são as imagens das mulheres feitas por um olhar masculino ao longo das narrativas tradicionais da história da arte. Respondendo a esse problema, algumas artistas realizaram ações para as câmeras de vídeo e fotografia. Nestas imagens, elas utilizaram o próprio corpo para demonstrar as construções ficcionais dos gêneros. Nesse artigo, analiso esses trabalhos pelas seguintes leituras: a crítica aos rituais de feminilidade, o feminino monstruoso e a identidade como categoria múltipla, tendo como marco teórico as contribuições de Janet Wolff e Jayne Wark. Também me apoio no discurso das artistas sobre seus métodos de trabalho, a partir de entrevistas inéditas. Palavras-chave: Representação. Corpo. Crítica feminista. Vídeo. Fotografia. AbstractFeminist criticism raised the issue of representation in art in different ways. In this critical perspective, one of the problems is the images of women made by the male gaze throughout the traditional narratives of art history. Responding to this problem, some artists performed actions for video and photography. In these images, they used their own bodies to demonstrate the fictional constructions of gender. In this article, I analyze these works through the following readings: the criticism of femininity rituals, the monstrous feminine and identity as a multiple category, having as a theoretical framework the contributions of Janet Wolff and Jayne Wark. I also rely on the artists' discourse about their work methods, based on unpublished interviews.Keywords: Representation. Body. Feminist criticism. Video. Photography.
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Muyumba, Walton. "Artists in Residence". liquid blackness 5, n.º 2 (1 de octubre de 2021): 21–37. http://dx.doi.org/10.1215/26923874-9272752.
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Abstract Mixing criticism and memoir, “Artists in Residence” offers a rumination on improvisation and collaboration in visual art-making and contemporary jazz performance. The author meditates on the 2017 Unite the Right rally and Ryan Kelly's award-winning photographs of the event and considers how artists offer models for resisting anti-Black racism and white supremacy through collaborative practices. The author analyzes the documentary films Looks of a Lot and RFK in the Land of Apartheid and reviews exhibitions by Roy DeCarava and Jason Moran, highlighting the points of intersection between jazz musicianship and visual artistry. Finally, the essay argues that artists like Kara Walker, William Kentridge, and Yusef Komunyakaa create works that express the pleasure and pain of Black Diasporic experience through practices such as blues idiom improvisation and collage. The author presents criticism as a mode of personal writing.
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Roose, Henk, Willem Roose y Stijn Daenekindt. "Trends in Contemporary Art Discourse: Using Topic Models to Analyze 25 years of Professional Art Criticism". Cultural Sociology 12, n.º 3 (10 de abril de 2018): 303–24. http://dx.doi.org/10.1177/1749975518764861.
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In this article, we use topic modeling to systematically explore topics discussed in contemporary art criticism. Analyzing 6965 articles published between 1991 and 2015 in Frieze, a leading art magazine, we find a plurality of topics characterizing professional discourse on contemporary art. Not surprisingly, media- or genre-specific topics such as film/cinema, photography, sculpture/installations, etc. emerge. Interestingly, extra-artistic topics also characterize contemporary art criticism: there is room for articles on new digital technology and on art and philosophy; there is also growing interest in the relationship between art and society. Our analysis shows that despite evolutions in the field of contemporary art – such as the ‘social turn’, in which contemporary art starts paying more attention to social forms and content – the prevalence of certain topics in contemporary art criticism has barely changed over the past 25 years. With this article, we demonstrate the unique value of topic modeling for cultural sociology: it is both a powerful computational technique to generate a bird’s-eye view of a huge text corpus and a heuristic device that locates key texts for further close reading.
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de Laat, Sonya. "The camera and the Red Cross: “Lamentable pictures” and conflict photography bring into focus an international movement, 1855–1865". International Review of the Red Cross 102, n.º 913 (abril de 2020): 417–43. http://dx.doi.org/10.1017/s1816383121000072.
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AbstractHenry Dunant's appeal for a neutral and impartial organization to provide care to wounded combatants aligned with growing criticism of mid-nineteenth-century European and North American conflicts. This article discusses the important convergence of Dunant's “lamentable pictures”, laid out in his Memory of Solferino, with spectators’ passionate responses to them and to battlefield photographs that circulated between 1855 and 1865. Through these images and reactions, there emerged a shared, expanded vision of humanity worth caring for, which brought into focus an international humanitarian movement.
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Keturakis, Saulius. "THE PHOTOS BY “THE MOLE”, OR IN SEARCH OF THE WAY TO THE OTHER / FOTOGRAFUOJANTIS „KURMIS“, ARBA KELIO LINK KITO PAIEŠKOSE". CREATIVITY STUDIES 5, n.º 1 (28 de junio de 2012): 22–31. http://dx.doi.org/10.3846/20297475.2011.645890.
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The title of the paper is not associated with the exotic show of a circus with the trained, capable of making the photos mole, but with the movie by Dalia Survilaitė The Mole, which is narrating the story of the poet, musician and blind from the birth photographer Remigijus Audiejaitis, who was tragically killed in the fire. The paper discusses the seemingly oxymoronic phenomena – the intention of the blind to express his experience by media, which he could experience himself only by using the ekphrasis device – by retelling the visual by words – or by using more complicated techniques of figurative meaning, when through photography the experience of smell or touch is expressed. In the paper the paradoxical figure of the blind photographer is interpreted by using the idea of William J. Thomas Mitchell about qualifying the relationships between the word and the image not only as impossible (in the meaning of Gotthold Ephraim Lessing's Laokoon, oder Über die Grenzen der Malerei und Poesie), but as the act of communication and range of the experience of the Other. The concepts of intertextuality and intermediality and the criticism related with the concepts helps to explore the theoretical basis of understanding the phenomenon. Santrauka Straipsnio pavadinimas susijęs su Dalios Survilaitės filmu Kurmis, kuriame pasakojama tragiškai žuvusio fotografo Remigijaus Audiejaičio, aklo nuo gimimo ir, anot jo paties, niekada neturėjusio jokio supratimo apie erdvę ir spalvą, istorija. Straipsnyje analizuojama ši oksimoroniška situacija, kai fotografijos – vizualios medijos – patirtis pačiam menininkui yra prieinama tik naudojantis ekfrastinėmis technikomis. Paradoksali aklojo fotografo figūra aptariama trijuose teoriniuose kontekstuose, siekiant išsiaiškinti jos galimybes nebūti paliktai tik kaip keistenybei, o būti paaiškintai remiantis teorinėmis įžvalgomis, susijusiomis su žodžio ir vaizdo sąveikos (Gottholdas Ephraimas Lessingas) analize, intertekstualumo bei intermedialumo tyrinėjimais (Michailas Bachtinas, Julia Kristeva, Rolandas Barthesas) ir Williamo J. Thomaso Mitchello ekfrazės kaip komunikacijos su kitu idėjomis. Straipsnyje aptariant išskirtinį Audiejaičio atvejį parodytas komunikacijos aspekto stiprėjimas žodžio ir vaizdo sąveikos teorijose, taip pat intertekstualumo bei intermedialumo tyrinėjimuose. Remiantis Mitchellu, daroma išvada, kad aklumas nėra atimantis galimybę komunikuoti su vizualiuoju kitu, nes ekfrazėje dalyvaujančios kalbos kontūras, jos juslėmis patiriamas medžiagiškumas gali būti suvokiamas kaip vizualumo pavidalas, per kurį vyksta komunikacija.
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Alexandrova, Elmira K. "International scientific conference “Writer versus critic: Social roles, genre preferences, language”". Philological Sciences. Scientific Essays of Higher Education, n.º 2 (marzo de 2022): 153–58. http://dx.doi.org/10.20339/phs.2-22.153.
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A chronicle of the scientific conference IRLI (Pushkiskin House) of the Russian Academy of Sciences (October 6–7, 2021), dedicated to the relationship between writers and their critics, is presented. The conference reports raised a wide range of issues: the structure of the readership in the era of modernization; social roles of critic and author, genre preferences, language. The participants of the scientific discussion considered the problem of interaction between the writer and criticism, the problem of “criticism of criticism”, as well as its significance and role in the literary process of the early 20 century. The topic of competition between periodicals was discussed; repertoire of artistic means and media techniques of critics-feuilletonists. The role of the press in the formation of the reputations of contemporary writers, verbal and non-verbal ways of representation (interviews, photographs), various polemics, disputes in liberal, party, conservative publications, the creation of biographical myths are analyzed. A number of reports were devoted to the problem of interaction between modernist writers and newspapers. Separately, the question of the fate of the critics-feuilletonists during the period of the revolutionary redistribution and the end of the free press was brought up for discussion. A separate session was devoted to the figure of the critic A.A. Izmailov and his relationship with fellow critics and the authors themselves.
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Callahan, Cory y Janie Hubbard. "Protest and prayer: the Jewish and Catholic presence at Selma". Social Studies Research and Practice 14, n.º 2 (9 de septiembre de 2019): 238–54. http://dx.doi.org/10.1108/ssrp-02-2019-0008.
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Purpose The recent motion picture Selma infused fresh interest – and controversy – into the political and emotional peak of America’s modern Civil Rights Movement. Ava DuVernay, the film’s director, faced criticism for her exclusion of the Jewish presence from the movie’s portrayal of the March 21, 1965 Voting Rights March. The recent attention presents a teachable moment and new energy for thinking deeply about this pivotal event in America’s past. The paper aims to discuss these issues. Design/methodology/approach The authors provide valuable historical domain knowledge surrounding the 1965 Voting Rights March, present the requisite plans and curriculum resources for implementing wise-practice instructional strategies, and explore the rationale underpinning the inquiry-based activities. Findings The authors share innovative approaches, at the secondary and elementary levels, integrating historical domain knowledge with renewed interest in the 1965 Voting Rights March to create powerful teaching-and-learning experiences. The approaches are innovative because they contain dynamic curriculum materials and reflect wise-practice use of historical photographs within the College, Career, and Civic Life (C3) Framework for Social Studies State Standards. Practical implications The approaches shared here are centered around questioning, a key to student learning. The lessons feature the development of questions, both from teachers and students, as classes work collaboratively to interpret a potentially powerful historical photograph and use historical events to practice thinking deeply about important topics. Originality/value Social studies classrooms are ideal educational spaces to develop and practice the analytical skills and dispositions students need to meet the challenge of critiquing visual information that concerns complex public issues, such as the role of religion in society.
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Żyrek-Horodyska, Edyta. "„The image of stigma is no longer shocking”. The Criticism of Media Voyeurism in Eli, Eli by Wojciech Tochman". Tekstualia 4, n.º 47 (5 de septiembre de 2016): 67–78. http://dx.doi.org/10.5604/01.3001.0013.4298.
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The article analyzes the journalist’s view on the condition of contemporary media as presented in Wojciech Tochman’s Eli, Eli. The book is a reportage about the Philippines. The journalist describes the main challenges faced by literary reporters. Tochman criticizes journalistic voyeurism and excessive press photography. The article compares Tochman’s authorial comments with statements made by other reporters (the precursors of reportage and contemporary writers) who discuss journalistic ethics and the so-called pornography of death, as manifested by the contemporary media.
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Ferret, Sandrine. "IRONIC STEREOTYPES: DESCREET FEMINISM OF NATACHA LESUEUR". DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 25, n.º 25 (25 de febrero de 2019): 136–46. http://dx.doi.org/10.5604/01.3001.0012.9833.
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Sandrine Ferret Ironic banalities: the discreet Feminism of Natacha Lesueur Natacha Lesueur is a French photographer, who discreetly conforms with the feminist tendencies, starting from her earliest works realized in the 1990s. Her first photographs depict compositions, in which fragments of the body, the head, the bust, the legs, etc., are adorned with intricately composed pieces of food, sometimes creating mysterious alphabets. The colour photographs are exceptionally painstainkingly processed – re- fined – and disorient the viewer with the vision of body fragments staged in weird situations. On the exhibition entitled White shadows, in the Marc Chagall Museum in Nice in 2014, Natacha Lesueur presented a work realized during several trips to Tahiti. Moved by the similarity of the Tahitian landscapes to her own shots, she would ask herself a question, how to use visual means to depict the reality in which the women and men of Tahiti lived, the reality so distant from the postcards which we all see in front of our eyes. Her choice included adopting these schematic representations as a starting point, together with introducing elements of destruction connected with colonisation, and especially with nuclear tests. She also considered vo- luptuous looks cast at young Tahitian women (wahine) by the colonizers. Playing with the Tahitian exoticism in an exaggerated way, underta- king strategic topics and perspectives (the landscape and wahine), Nata- cha Lesueur stages these subjects in order to introduce distortions into their perception. The light of the stroboscope lamp or red lighting make the viewers embarrassed, as they also perceive typical pictures from the well- known categories: the paradise lagoon, the lewd native, light flashes or overly erotic dance. Lesueur’s work criticises depictions of the Tahitian exoticism, with which it enters into a dispute, thus deconstructing it. The article analyses in detail two video films, Omaï and Upa Upa, shown during the exhibition mentioned. At the same time it attempts to answer the question, in what way, while making use of special lighting in her work, Natacha Lesueur utilizes the feminist methodology, whose aim is to deconstruct identity.
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Ferret, Sandrine. "NATACHA LESUEUR, DES CLICHÉS IRONIQUES : UN FÉMINISME DISCRET1". DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 25, n.º 25 (25 de febrero de 2019): 136–47. http://dx.doi.org/10.5604/01.3001.0012.9854.
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Natacha Lesueur is a French photographer, who discreetly conforms with the feminist tendencies, starting from her earliest works realized in the 1990s. Her first photographs depict compositions, in which fragments of the body, the head, the bust, the legs, etc., are adorned with intricately composed pieces of food, sometimes creating mysterious alphabets. The colour photographs are exceptionally painstainkingly processed – refined – and disorient the viewer with the vision of body fragments staged in weird situations. On the exhibition entitled White shadows, in the Marc Chagall Museum in Nice in 2014, Natacha Lesueur presented a work realized during several trips to Tahiti. Moved by the similarity of the Tahitian landscapes to her own shots, she would ask herself a question, how to use visual means to depict the reality in which the women and men of Tahiti lived, the reality so distant from the postcards which we all see in front of our eyes. Her choice included adopting these schematic representations as a starting point, together with introducing elements of destruction connected with colonisation, and especially with nuclear tests. She also considered voluptuous looks cast at young Tahitian women (wahine) by the colonizers. Playing with the Tahitian exoticism in an exaggerated way, undertaking strategic topics and perspectives (the landscape and wahine), Natacha Lesueur stages these subjects in order to introduce distortions into their perception. The light of the stroboscope lamp or red lighting make the viewers embarrassed, as they also perceive typical pictures from the well- known categories: the paradise lagoon, the lewd native, light flashes or overly erotic dance. Lesueur’s work criticises depictions of the Tahitian exoticism, with which it enters into a dispute, thus deconstructing it. The article analyses in detail two video films, Omaï and Upa Upa, shown during the exhibition mentioned. At the same time it attempts to answer the question, in what way, while making use of special lighting in her work, Natacha Lesueur utilizes the feminist methodology, whose aim is to deconstruct identity.
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Fresán, Rodrigo. "The Sebald Case". boundary 2 47, n.º 3 (1 de agosto de 2020): 169–75. http://dx.doi.org/10.1215/01903659-8524479.
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In this essay, the author offers a candid discussion of Sebald’s legacy and the flurry of criticism aimed at securing his place in the literary canon. It engages many of Sebald’s signature themes: memory, amnesia, silence, history, and trauma. The author acknowledges Sebald’s masterful blend of language, photography, and archival material, resulting in a uniquely hybrid narrative form falling somewhere between essay and fiction. The essay is critical of Sebald’s most dedicated admirers—not because of any perceived paucity in Sebald’s work, but rather the shortsightedness of the critical machine that is desperately trying to fossilize Sebald as the end point of modern literature.
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Luke, Megan R. "A Picture Is a Shaped Thing". October 168 (mayo de 2019): 148–65. http://dx.doi.org/10.1162/octo_a_00353.
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Over fifty years after the initial publication of “Shape as Form: Frank Stella's Irregular Polygons,” the criticism of Michael Fried continues to define the reception of the painter's early shaped canvases. Returning to Fried's foundational account of their iterative compositions and objecthood, this essay considers how these same features were figured differently in the photographs of Hollis Frampton, in the writing of Max Imdahl, and, ultimately, in the artist's own confrontation with a nascent discourse about Minimalism in the visual arts. Stella's negative definition of his practice as “non-relational painting” suggests further points of comparison to theoretical statements by Carl Andre and the painting of François Morellet.
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Ferreira, Jailma da Costa. "NARRATIVAS FOTOGRÁFICAS NA POESIA DE MARÍLIA GARCIA". EntreLetras 13, n.º 2 (17 de noviembre de 2022): 213–27. http://dx.doi.org/10.20873/uft2179-3948.2022v13n2p213-227.
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We present in thiswork a critical reading of the poem “Parque das ruínas”, by the Brazilian poet Marília Garcia, published in the homonymous book. The writer places her text on the threshold between poem, diary and essay, thus addressing the issue of photography as a meansof recording capable of narrating events that can go beyond the narrative of the word, but without putting one form over another. We have poetry and criticism attached to the same narratological measure. For purposes of analysis, we will resort to the studies of Martelo (2012), on poetry and image; Rezende (2013), about contemporary poetry; Ludmer (2007), on post-autonomous literature; among others.