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Meron, Yaron. "Photographic (In)authenticity". Video Journal of Education and Pedagogy 4, nr 2 (27.12.2019): 60–81. http://dx.doi.org/10.1163/23644583-00401018.
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Debates around authenticity within photographic discourse are persistent. Some have revolved around documentary photography, while other discussions focus on the ethical validity of digitally edited news photographs and indeed the photographic medium itself. This article proposes that discussions around ‘authenticity’ should be focused instead towards contextualising photography more appropriately within the creative practice of ‘making strange’. It acknowledges existing debates around photography and authenticity, before locating the discussion within creative practice. It then moves to a discussion, using Robert Capa’s ‘Falling Soldier’ (Capa, 1936) as a starting point, before drawing on examples from the author’s own creative and professional practice. In the process, the article argues that visual researchers embrace the challenges of making the familiar strange within photographic creative practices.
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Sile, Agnese. "Through the mother’s voice: Exposure and intimacy in Lesley McIntyre’s photo project The Time of Her Life and Elisabeth Zahnd Legnazzi’s Chiara A Journey Into Light". Health: An Interdisciplinary Journal for the Social Study of Health, Illness and Medicine 24, nr 5 (2.12.2018): 461–75. http://dx.doi.org/10.1177/1363459318815933.
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When it comes to depicting ill or disabled children, the ethics of representation becomes increasingly complex. The perception of photographs as voyeuristic and objectifying is of particular concern here and resonates with widespread fear about the eroticisation, mistreatment and exploitation of children. Although these fears are reasonable, this view does not take into account the voice and agenda of the photographic subject, disregards the possibility of recognition and the participatory nature of photography. In this article, I focus on photography as a collaborative practice. I analyse two photographic projects by photographers/mothers that document their ill and dying daughters – Lesley McIntyre’s photographic essay The Time of Her Life (2004) and Elisabeth Zahnd Legnazzi’s Chiara A Journey Into Light (2009). Illness in these projects is not experienced in isolation. Instead, the photographs and accompanying texts provide a space to engage in a dialogue which is built on the interdependency of all the participants of the photographic act – the photographer, the subject of the photograph and the viewer. My aim is to question how these projects construct experiences and articulate private expressions of illness and how the photographs enhance and/or challenge the mother–daughter bond. Alan Radley’s critical analysis of representations of illness, Emmanuel Lévinas’s and Maurice Blanchot’s perspectives on ethical philosophy and visual social semiotics approach developed by Kress and Van Leeuwen provide a guiding framework for this study.
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Vanover, Charles. "The Magic of Theater: Photographing a Performative Academic Career". Cultural Studies ↔ Critical Methodologies 21, nr 1 (26.06.2020): 41–55. http://dx.doi.org/10.1177/1532708620931136.
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I discuss my efforts as a “good enough” photographer and describe the role photographs play communicating important moments from a series of ethnodramas I built about the Chicago Public Schools. I discuss my early efforts to use photography to legitimize my arts-based research practice, describe how my goals changed, and explain how I created images to communicate the energy of live theater. Building on Eisner’s theoretical work, I discuss three tensions of my photographic practice: intention versus improvisation, action versus artifice, and safety versus possibility. These tensions emphasize my limits as a photographer and the possibilities of arts-based research.
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Fox, Paul. "An unprecedented wartime practice: Kodaking the Egyptian Sudan". Media, War & Conflict 11, nr 3 (13.07.2017): 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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Soyref, Polina G. "The Test of Photography". Koinon 3, nr 2 (2022): 86–105. http://dx.doi.org/10.15826/koinon.2022.03.2.018.
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This article aims to substantiate the interpretation of photography as a tool, artifact, and practice using the concept of test. The concept of test is chosen due to its complex semantic and functional meanings: to test is to check for durability, to find the truth; to be tested is to gain experience. In line with the double meaning o the genitive — we test the photograph, and the photograph tests us — (mutual, bidirectional testing), the article introduces the following headings: “The Test of Strength”, “The Test of the Viewer”, “The Test of the Gaze”, “Body Experience: Tested by the Gaze”, “The Test of Language”, and “The Test of Credibility”. The author’s position is to shift the focus from talking about photography as such to the possibilities of experience that it offers. The implementation of the approach relies on the dual nature of photography: the technical side of the genesis of the photographic image and photographic dualism of studium and punctum (R. Barth). Photography is at the junction between the subjective view of the choice of frame, and the technical registration of reality, which excludes the subject from the process of this registration. This juxtaposition of the subjective and the non-subjective in photographic practice determines the research topics presented in this article. The photographic image remains completely autonomous, not connected to human intervention, and this statement contributed to the introduction of the concept of the solid frame, which has the maximum potential for effect. A solid frame is an independent artifact that can last in the perception and memory of the viewer and create its field of meaning. The nature of the viewer’s particular fascination with photography is explored. The properties of photography —the claim to persuasiveness and the actual power of “lasting” photography — allow us to influence those looking at it (it doesn’t matter if it is the viewer or the photographer): we know that “it was”, we are in the field of the artifact that goes beyond its actual borders, we experience its content beyond cultural, artistic, linguistic boundaries. Photography turns out to be a practice that actualizes, intensifies, or transforms the experience of interacting with reality, a tool that allows us to experience it more intensely than in everyday life.
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Baker, George. "Sharing Seeing". October 174 (grudzień 2020): 163–75. http://dx.doi.org/10.1162/octo_a_00412.
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In 2007, artist Sharon Lockhart made a large-scale photograph of two young girls reading braille, based on a specific photograph by August Sander from the 1930s made in an institute for blind children. Turning to the widespread iconography of blindness in the history of photography, this essay considers the importance of such images for a larger theory of photographic spectatorship. Lockhart's image of blind children relates to Sander's photograph, but does not duplicate it in all respects; her alteration of the historical image opens onto the larger non-coincidence of vision that photographic seeing instantiates. Ultimately, Lockhart's relational practice of photography-connecting each photograph she makes to prior images, while never fully duplicating or replicating them-provides a model for understanding the relational dynamics of photographic spectatorship. The essay also discusses Paul Strand, Roland Barthes's Camera Lucida, Kaja Silverman's World Spectators, “straight photography,” and Michael Fried.
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De Leon, Adrian. "Frank Mancao's “Pinoy Image”: Photography, Masculinity, and Respectability in Depression-Era California". Journal of American Ethnic History 41, nr 2 (1.01.2022): 58–94. http://dx.doi.org/10.5406/19364695.41.2.03.
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Abstract This article examines the construction of respectability politics and ethnic identity in the visual archives of Frank Mancao, a Filipino labor contractor and photographer in California. By investigating Mancao's relationship with the male Filipino farmworkers he managed and photographed, it argues that ethnic photographers and migrant workers as photographic subjects turned to the camera as a means of constructing a respectability politics to refashion a denigrated masculine Filipino identity in the American West. It begins with an investigation of Mancao's photographic practice and moves into how his work as a studio photographer provided Filipino men—including Mancao himself—opportunities to represent themselves against the popular image of the Filipino vagrant and criminal. However, this study also suggests that the “Pinoy image” crafted around the camera was not a revolutionary one; instead, the photographs reified industriousness and participation in capitalist production as the merits of good citizenship.
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Kea, Pamela. "Photography, care and the visual economy of Gambian transatlantic kinship relations". Journal of Material Culture 22, nr 1 (14.12.2016): 51–71. http://dx.doi.org/10.1177/1359183516679188.
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This article examines transnational kinship relations between Gambian parents in the UK and their children and carers in The Gambia, with a focus on the production, exchange and reception of photographs. Many Gambian migrant parents in the UK take their children to The Gambia to be cared for by extended family members. Mirroring the mobility of Gambian migrants and their children as they travel between the UK and The Gambia, photographs document changing family structures and relations. It is argued that domestic photography provides an insight into the representational politics, values and aesthetics of Gambian transatlantic kinship relations. Further, the concept of the moral economy supports a hermeneutics of Gambian family photographic practice and develops our understanding of the visual economy of transnational kinship relations in a number of ways: it draws attention to the way in which the value attributed to a photograph is rooted in shared moral and cultural codes of care within transnational relations of inequality and power; it helps us to interpret Gambians’ responses to and treatment of family photographs; and it highlights the importance attributed to portrait photography and the staging, setting and aesthetics of photographic content within a Gambian imaginary.
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Bell, Amy. "“We were having a lot of fun at the photographers”". Ontario History 107, nr 2 (24.07.2018): 240–61. http://dx.doi.org/10.7202/1050637ar.
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This article uses the photographic examples from a small female college to explore the use of photography as a social practice in late Victorian female colleges. It argues that photographs of students worked as both frames and surfaces: framing the visual details of their daily lives, while simultaneously allowing them a surface on which to fashion self-portraits. The photographs of Hellmuth Ladies’ College demonstrate the multiple arenas of late Victorian educational experience, the idealistic and aesthetic links between female educational institutions in the circum-Atlantic World, and the importance of school photographs to Canada’s photographic history.
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Thelander, Åsa, i Cecilia Cassinger. "Brand New Images? Implications of Instagram Photography for Place Branding". Media and Communication 5, nr 4 (21.12.2017): 6–14. http://dx.doi.org/10.17645/mac.v5i4.1053.
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The aim of this article is to develop an understanding of what happens when Instagram photography is used for branding a place. Questions raised are which photographs are taken and published, does the practice result in novel ways of representing a place, and, in turn the image of a place. A practice approach to photography is used where focus is directed to the performative aspect of photography. Fifteen qualitative interviews were conducted with participants in an Instagram takeover project concerning their photographs. The study shows that adopting a communication strategy based on visual social media is dependent on the participants’ competencies and that it is embedded in everyday life. Moreover, the participants’ photographic practices were found to be influenced by social conventions, which resulted in the city being imagined differently by different participants. To use visual social media such as Instagram for branding purposes does not necessarily mean that novel images are generated, but that they are choreographed according to the conditions of Instagram as medium.
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yang, nel. "Arousal and Elicitation: Photographic Performativity in FinDom". Master, Vol. 5, no. 2 (2020): 70–77. http://dx.doi.org/10.47659/m9.070.art.
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Financial domination (findom) is a fetish practice in which a submissive derives erotic pleasure from sending money to a dominant or a cashmaster. Cashmasters produce photographs meant to elicit this desire in cashslaves, essentially arousing the desire to send money. This essay approaches this emergent genre of seemingly self-promotional photography as a genre of photographic performativity (Levin 2009). Rather than the desire to capture or represent (Batchen 1999), these images evidence a choreography of photographic performativity including both masters (as makers) and slaves (as viewers). Though the compliance with form and economic practice tempts the interpretation that masters are now slaves, this essay suggests that these images invite performances of domination, submission, and critique into wider performatives of arousal and elicitation. What critics and social analysts perceive as power (economic, erotic, or otherwise) are, in fact, desire at its seams, in the process of active and cooperative composition. Keywords: desire, fetish, photographic performativity, critique, masculinity, financial domination
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Rissanen, Mari-Jatta. "Entangled photographers: Agents and actants in preschoolers’ photography talk". International Journal of Education Through Art 16, nr 2 (1.06.2020): 271–86. http://dx.doi.org/10.1386/eta_00031_1.
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Photographs taken by young children have engendered a growing amount of research across diverse academic disciplines. Photographs have been used as visual data for analysing for example children’s social relations and well-being. However, only a few studies have addressed the photographic practices of young children as means for them to explore, imagine and coexist with the surrounding world. In this article, I introduce a case study that draws on research from art education and sociology of childhood. The data were gathered in a photography workshop in a Finnish early childhood education and care centre, where fourteen preschoolers discussed their photographs inspired by contemporary Finnish art photography. In order to expose diverse human and material actors and their interactions in preschoolers’ photography talk, I applied Bruno Latour’s actor-network-theory. Thus, preschoolers’ photography is seen as a practice of visual meaning-making wherein agency is distributed among several actors.
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Van Dyk, Sian. "Peter Peryer (1941–2018)". Back Story Journal of New Zealand Art, Media & Design History, nr 6 (1.07.2019): 43–53. http://dx.doi.org/10.24135/backstory.vi6.44.
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On his fridge, Peter Peryer kept a quote by Ansell Adams that read: “You don’t make a photograph just with a camera. You bring to the act of photography all the pictures you have seen, the books that you have read, the music you have heard, the people you have loved”. This photographic essay considers how Peryer’s personal experiences and passions became intertwined with his practice, and how his understanding of the photographic image saw him create enduring images that will continue to test our own observations of everyday life.
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Colner, Miha, i Ivan Petrović. "Ivan Petrović, Photographer, Archivist and Artist: Interview with Ivan Petrović". Cabinet, Vol. 2, no. 2 (2017): 4–9. http://dx.doi.org/10.47659/m3.004.int.
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Ivan Petrović (1973) has been working in the fields of photography and art for twenty years as a researcher, creator and collector. Since 1997, he has been creating and publishing photographic projects that reflect the spirit of space and time in which they are created, while in his works he uses both documentary approaches as well as research principles. In 2011, together with photographer Mihail Vasiljević, he founded a para-institution, the Centre for Photography (CEF). Despite lacking its own premises, infrastructure or funds for performing its activities, the institution deals with the search, preservation, collection and analysis of local photographic materials from recent history. In the past ten years, Petrović also moved his artistic practice beyond mere artistic expression, since he addresses the phenomena of photography from an analytical-theoretical point of view. His interest lies in the nature of the photographic image and its role in society and historiography. In this spirit, long-term projects such as Documents (1997–2008), Images (2002–), Portfolio Belgrade (2015–) and the latest film production were created. The interview with Ivan Petrović took place on 1 September 2017 in Belgrade. The main themes were the role of photography in the dominant history, the boundary between one’s own practice and archival work, photography as an art and the likes. Keywords: collection, documentary, photography's role, preservation, research
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Sawant, Shukla. "The Trace Beneath: The Photographic Residue in the Early Twentieth-century Paintings of the “Bombay School”". BioScope: South Asian Screen Studies 8, nr 1 (czerwiec 2017): 1–29. http://dx.doi.org/10.1177/0974927617700768.
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This essay examines the interface between the indexical and the gestural, through the practice of early twentieth-century painters active in the Bombay Presidency and adjoining princely states such as Kolhapur and Aundh. It draws upon archival materials such as biographies, memoirs, and photographs documenting artists at work in the studio, as well as remains of posed photographs that were produced as aide-mémoire for paintings. It throws light on the fraught place of photography as aesthetic practice in the art academy, its association with colonial protocols of scientific accuracy, capture and control, and its use to construct suggestive representational hybrids of the anatomical and the painterly outside the academy. The article explores patterns of patronage and of the use of photography in the practices of art production, publication, and exhibition, looking, in particular, at the role of the photographic basis of the portrait painting, and how photography became a supplement to “life-study” or the practice of drawing from nude models. The gendered politics of this interface, between artist, technology, and female model is a recurrent thread of analysis, drawing on critical debates that were published in Marathi periodicals of the time. The article explores the braiding of technologies in artistic practice in different sites, from the academy and the artist’s studio through to publication and exhibition in galleries, and illustrated magazines. While the essay considers a number of artists, including Ravi Varma, Durandhar, and Thakur Singh, it focuses, in particular, on Baburao Painter for his engagement with photography and painting in a career which traversed theater, painting, photography, and film production.
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Wall, Gina. "Writing the world: photographing the text of the landscape". Excursions Journal 1, nr 1 (12.09.2019): 123–42. http://dx.doi.org/10.20919/exs.1.2010.131.
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I am engaged in a practice led thesis, which has been challenged and shaped by thinkers in the fields of critical theory and philosophy. Although I work in dialogue with these theorists, I am principally a visual practitioner who is most at home with traditional, wet process photography.I began with a general concern regarding my own resistance to landscape photography as the depiction of the view, which has led me to question the persistence of the (illusion of) the unified photographic moment. My visual process, which began quite simply as a reaction against the pervasiveness of the view in photography, has, in dialogue with writers such as Ferdinand de Saussure, Roland Barthes, Jacques Derrida and Rosalind Krauss, enabled me to theorise my own photographic practice as a form of writing. Central to this has been the investigation of different theoretical configurations of the semiotic sign.I contend that Rosalind Krauss’ conception of Surrealist photography as a practice of écriture, in fact accounts for photographic practice more broadly speaking. The spacing of the photographic sign, which Krauss describes as an ‘invagination of presence,’ defers the confluence of the signified and the signifier thus rupturing the illusion of presence in the photographic moment: the shutter differences the image from the world and the practice of photography reconfigures the world as a form of writing. However, not simply in the sense of a surface inscribed by light, but writing as a space in which the possibility for meaning is realised.
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Kratz, Corinne A. "Afterword Uncertain trajectories and refigured social worlds: the image entourage and other practices of digital and social media photography". Africa 89, nr 2 (maj 2019): 323–28. http://dx.doi.org/10.1017/s0001972019000032.
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Drawn from East, West, Central and Southern Africa, the case studies in this special issue build on several decades of important work on photography in Africa. That work has examined colonial photography and postcards, studio work from colonial times to the present, activist photography, photojournalism, and artists who work with photographic images. It has addressed issues of representation, portraiture, aesthetics, self-fashioning, identities, power and status, modernities and materiality, the roles of photographs in governance and everyday politics, and the many histories and modes of social practice around making, showing, viewing, exchanging, manipulating, reproducing, circulating and archiving photographic images. Yet these articles push such issues and topics in exciting directions by addressing new photographic circumstances emerging throughout the world, initiated through new media's technological shifts and possibilities. In Africa, this has fuelled a range of transformations over the last fifteen years or so, transformations that are still unfolding. As the articles show, digital images, mobile phone cameras and social media (also accessed via phone) constitute the potent triad that has set off these transformations.
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Baker, Carole. "From Postmodernism to Posthumanism: The Photographed Animal". Instinct, Vol. 4, no. 1 (2019): 66–70. http://dx.doi.org/10.47659/m6.066.art.
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This essay was inspired by the growing critical and artistic attention currently afforded to the subject of the nonhuman animal within Posthumanism and a curiosity to explore photographic practices that could potentially contribute to this endeavour. An exploration of Postmodernist art practice has revealed a dramatic shift in approach to the nonhuman animal subject; essentially characterised as a move from a sceptical, emotionally-distanced, theoretically-grounded range of practices to those that are emotionally-engaged, affective and ethically responsive. This is not to suggest that this characterises all Posthumanist photographic practices; a number of critical writers ably theorise about global networks, nonhuman photography, abstraction of vision. Instead, I examine photographic practices which are embedded within compassion, generosity, responsibility. This is not a return to the modernist notion of the artist and his or hers creation, but a plea for productive interrelations based on equality and experimentation which will potentially lead to novel ways of living. Keywords: animality, art photography, nonhuman, photography of animals, posthumanism
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Schwärzler, Monika. "‘Cheese’ and Don’t Move! Tame Animals and Contrived Poses: Rob Macinnis’s Animal Group Portraits". Instinct, Vol. 4, no. 1 (2019): 54–58. http://dx.doi.org/10.47659/m6.054.rev.
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Macinnis’ photographs of various groups of animals are so striking because all the animals assembled in front of the camera seem to be most willing to accept the camera’s gaze and the power relation implied. Animals are usually hard to photograph, because they are not particularly collaborative, unpredictable in their movements, and tend to flee the frame. Macinnis’ protagonists pose and look straight into the camera. They appear tame, pacified, ‘civil’, patiently awaiting their pictorial equivalent. As in all well-managed and representative group photos, there are no obvious signs of disorder or potential subversion. Macinnis’ patchwork families look friendly and demonstrate unity and a sense of aesthetic order. Macinnis’ photos allow for a reflection on group photographs and their specific arrangements. At the same time, they make one painfully aware of the disciplinary nature of the photographic act. Posing and freezing in front of the camera is a cultural practice that had to be trained and appropriated. Narratives from the beginnings of photography prove that. By looking at Macinnis’ fully disciplined animal models, one realizes how much of our own unruliness we had to give up to fit into the photographic system. Keywords: animal group portraits, anti-photographs, composite images, discipline
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Staples, Amy J. "Visualism and the Authentification of the Object: Reflections on the Eliot Elisofon Collection at the National Museum of African Art". Collections: A Journal for Museum and Archives Professionals 3, nr 2 (czerwiec 2007): 183–90. http://dx.doi.org/10.1177/155019060700300209.
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Photographic resources are well known within museum contexts. However, these images are rarely considered in terms of how they enhance the historical value of museum objects, construct aesthetic and ethnographic meanings, and interpret museum collection practices. This paper examines the multi-media collections of Eliot Elisofon, an internationally known photographer and filmmaker who traveled in Africa from 1943-1972. The Elisofon collection at the National Museum of African Art contains both photographic materials and three-dimensional objects created and collected in the course of Elisofon's professional career. I explore the ways in which Elisofon's images have been used to illustrate objects in situ, represent cultural contexts of use and meaning, and create multiple layers of authentication for the objects (i.e., artistic, documentary, ethnographic). Attention is also given to the importance of photography as a collection practice in and of itself.
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von Brevern, Jan. "Fototopografia: The “Futures Past” of Surveying". reproduire, nr 17 (8.09.2011): 53–67. http://dx.doi.org/10.7202/1005748ar.
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This article examines a particular problem in the early history of photographic land surveying: the unwavering desire to use photography to capture accurate topographical information for map-making, even in light of practical difficulties. It considers how both the practical survey work and the status of photography changed when, instead of the landscape itself, photographs were measured. Photography’s promise to simplify strenuous fieldwork was almost as old as photography itself—but in practice, it took decades of experimenting until the process was feasible.
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Gonzales-Day, Ken. "Analytical Photography: Portraiture, from the Index to the Epidermis". Leonardo 35, nr 1 (luty 2002): 23–30. http://dx.doi.org/10.1162/002409402753689272.
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The current abundance of scholarship concerning the technological development of photography has coexisted with a proportionate absence of recent critical analysis of photographic images. Given photography's long-standing embrace of technological advances, even predating the portable camera or roll film, this article revisits some early uses of scientific photography in order to clarify the impact of digital technology on contempo-rary photographic practice. The author uses scientific photogra-phy and photographic archives as the groundwork for photo-graphic experiments into what might be called analytical photography. The essay con-cludes with a reconsideration of the photographic portrait.
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Cataldi, Michael, David Kelley, Hans Kuzmich, Jens Maier-Rothe i Jeannine Tang. "Residues of a Dream World". Theory, Culture & Society 28, nr 7-8 (grudzień 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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Petraitis, Paulius. "Performing Togetherness: Tourist-Like Photography from Abu Ghraib". Acta Academiae Artium Vilnensis, nr 99 (5.07.2021): 99–125. http://dx.doi.org/10.37522/aaav.99.2020.16.
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The article explores the infamous photographs from the Abu Ghraib prison that circulated and were made public in 2004. It specifically looks at how the sense of togetherness was enacted by the U.S. military personnel stationed in the site, and the way cameras were instrumental in this process. It argues that the resultant photographs can be seen as tou- rist-like in several respects. A notable aspect of the photographic images is that the soldiers who took them repeatedly appear in the frame themselves. Appearing in and photographing the abusive acts was not only a form of structuring and reinforcing power relations at the prison, but also an attempt to portray a fun-having personnel group. The visual signifiers – thumbs up, smiles, pointed fingers – authenticate the images, lending them some of the qualities of tourist photography. At Abu Ghraib, the soldiers’ photographic practice also partly served as a sense-making mechanism, allowing a symbolic distance between the camera-wielder and unforeseen emergent events. It promised a wishful alternative to the grim realities of the prison: an overcrowded and undersupplied facility with a lack of on-site leadership. The scars of resultant violence – and the notorious photographs that document it – remain relevant, and continue to resurface in recent so- cial and political contexts.
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Van Vliet, David, i Marcos Mortensen Steagall. "Time and postphotography". Revista 2i: Estudos de Identidade e Intermedialidade 3, nr 4 (31.12.2021): 49–60. http://dx.doi.org/10.21814/2i.3434.
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This article presents a practice-led research project that asks how experienced time can be perceived through manipulated photographic images. The investigation is carried out by a series of digital images whose content is renegotiated over time, while the subject of the photograph remains within the frame. The artwork evidences an unstable space between a photographic composition and a moving image employed to question the power conventions in visualization and to expand the way we can conceive of time as duration in digital photographic images. It contributes to the discourse about practice-led oriented methodologies in the field of practice as a form of research through a comment on the design practice.
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Morris-Reich, Amos. "Science and “Race” In Solomon Yudovin’s Photographic Documentation of Russian Jewry, 1912–1914". Images 6, nr 1 (2012): 52–78. http://dx.doi.org/10.1163/18718000-12340004.
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Abstract From the perspective of Central European developments in scientific photography, this article studies the photographs taken by Solomon Yudovin as part of S. An-sky’s ethnographic expedition to the Pale of Settlement between 1912 and 1914. The first part of the article argues that the scientific goals of the expedition demanded the introduction of photography less out of an inherent interest in the medium than out of the desire to employ advanced scientific techniques. The second part identifies various strains of scientific photography in Yudovin’s photographic practice. It shows that his photographs encompass both of what later came to be contrasted as racial photography and social documentation. Employing a comparative approach, and touching particularly on questions of Jewish visibility at the time and after the Holocaust, the third part of the article points to the specificity of photography as an indexical medium in this history.
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AGUIAR, JONAS JOSÉ MENDES, JEAN CARLOS SANTOS i MARIA VIRGINIA URSO-GUIMARÃES. "On the use of photography in science and taxonomy: how images can provide a basis for their own authentication". Bionomina 12, nr 1 (24.03.2017): 44–47. http://dx.doi.org/10.11646/bionomina.12.1.4.
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Photography has, since its inception, significantly contributed as a tool to many areas of scientific research and consequently, has been able to achieve a high level of prestige in the scientific field. In recent years, there has been an increasing debate within the scientific community regarding the need for the deposition of type specimens when describing new species. Recently, Marshall & Evenhuis (2015) described a new species of Diptera, based exclusively on a few photographs. Even if one withholds judgement about whether the photographs used present sufficient characteristics for the description and identification of this new species, data missing from the holotype photograph could be of great importance for other analyses and future comparisons. The authors have omitted the digital photographic format used for the photographs in their work, and at no point has a deposition of the RAW type (a digital format sometimes called digital negatives, this file preserves most of the information from the captured picture) for verification of its authenticity been mentioned. The absence of this file for verification of the authenticity of the photograph makes its scientific credibility questionable and untrustworthy. We consider this taxonomical practice based exclusively on the use of photographs to be simplistic and harmful. Although the Code does not mention Rules about the use of photography formats we strongly suggest that, for the elaboration of academic articles, not only in taxonomic ones, using characteristics based on digital photography, the authors should be willing to make the RAW file of the photograph available for comparison in order to avoid doubts regarding the authenticity of the photograph presented.
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Braeunert, Svea, i Tanja Nusser. "Introduction: Annemarie Schwarzenbach's Photographic Practice". Monatshefte 113, nr 3 (wrzesień 2021): 341–60. http://dx.doi.org/10.3368/m.113.3.341.
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Newton, Julianne H. "Photographic Interaction as Dynamic Practice". Journalism & Communication Monographs 21, nr 1 (31.01.2019): 66–72. http://dx.doi.org/10.1177/1522637918823263.
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Grushka, Kathryn Meyer, Aaron Bellette i Allyson Holbrook. "Researching Photographic Participatory Inquiry in an E-Learning Environment". Articles 49, nr 3 (8.10.2015): 621–39. http://dx.doi.org/10.7202/1033550ar.
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This article focuses on the use of Photographic Participatory Inquiry (PPI) in researching the teaching and learning of photography in the e-learning environment. It is an arts-informed method drawing on digital tools to capture collective information as digital artefacts, which can then be accessed and harnessed to build critical and reflective photographic practices. The multimedia tools employed (for example GoPro video and screen capture) are critically discussed for their potential to contribute understanding of photographic artistic practice and the learning of a digital generation. The article may also provide critical insights and inform more nuanced methods for research and scholarship when wishing to investigate the personalized, participatory, and productive pedagogies of a networked learning society.
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Ben-Choreen, Tal-Or K. "Emergence of Fine Art Photography in Israel in the 1970s to the 1990s Through Pedagogical and Social Links with the United States". Contemporary Review of the Middle East 6, nr 3-4 (wrzesień 2019): 252–65. http://dx.doi.org/10.1177/2347798919872588.
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The flourishing of photography as a tool for expressive reportage and artistic practice transformed photographic education during the mid-twentieth century. American-based academic institutions quickly established reputations in the emerging fine art field as leaders in photographic education drawing international students from diverse locations, including Israel. Many Israelis who studied photography in American institutions returned to Israel bringing with them the knowledge they had gained while abroad. This article considers the impact of American pedagogical models and social networks on the development of the Israeli photographic field. Included in this discussion is an exploration of the emergence of Israeli photography programs in institutions of higher education, photography galleries, museum collections, and exhibitions. By approaching the study through a network methodological approach, this article traces the transnational movements of individuals: photographers, program graduates, and curators in order to demonstrate the significant impact American photographic education had on the emerging Israeli photographic field.
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Kanicki, Witold. "Wundercamera Obscura". Cabinet, Vol. 2, no. 2 (2017): 70–73. http://dx.doi.org/10.47659/m3.070.art.
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Archives abounding in collections of nineteenth-century photographs contain numerous examples of works dealing with the subject of bodily anomalies. Information about such pictures being taken used to be published on a regular basis in daily press, in which the readership were notified about photo ateliers which immortalised a variety of “monstrosities”. Although it would seem that such pictures were taken solely for scientific purposes, the many and varied contexts of their use let us link them to a much older tradition of viewing and collecting visual curiosities. Having the above facts in mind, this article confronts the popular habits of photographing peculiarities in the 19th century, with museum practice and the Wunderkammers tradition. The space of a photograph may substitute exhibition space, while a desire to watch all kinds of abnormalities and the culture of curiosity determines the connection between former museum visitors and recipients of photographs. Keywords: 19ct museum, collecting, curios, photographic archive, wundecamera
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Currie-Williams, Kelann. "Makers and Keepers: Two Lives, through Photographs". Canadian Journal of History 56, nr 3 (1.12.2021): 292–319. http://dx.doi.org/10.3138/cjh.56-3-2021-0044.
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Looking through the pages of family photo albums or the folders of photographic archival fonds can only be described as holding history in your hands. Whether it is in the form of colour or black and white prints, negatives, or slides, these photo-objects carry histories of lives lived that go beyond their frames. Focusing on a set of oral history interviews conducted with two Black women living in Montréal — a community photographer or image “maker” who was most active during the 1970s–1990s and a photo-collector or “keeper” who is currently active in preserving and sharing photographs for her church and wider communities within the city — this article engages with how the interweaving of photography and oral history gives us a rich way to experience the histories of Black social life in Montréal. Photo-led oral history interviews are sites for fruitful and in-depth conversation, providing interviewee and interviewer alike with the possibility of coming into encounter with everyday or minor histories that are too often overlooked. Moreover, this article is driven by a set entwined questions: How does oral testimony open up additional avenues for sharing the events of the past that have been captured through photographic images? What affective and relational qualities do photographs possess and how, in turn, do these qualities transform the space of the oral history interview? And, most urgently, why was photography used by Black Montréalers as a tool and a practice to remember and insist upon their collective presence?
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Wakelin, Daniel. "A New Age of Photography: ‘DIY Digitization’ in Manuscript Studies". Anglia 139, nr 1 (4.03.2021): 71–93. http://dx.doi.org/10.1515/ang-2021-0005.
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Abstract Since c. 2008 many special collections libraries have allowed researchers to take photographs of medieval manuscripts: this article calls such self-service photography ‘DIY digitization’. The article considers some possible effects of this digital tool for research on book history, especially on palaeography, comparing it in particular to the effects of institutionally-led digitization. ‘DIY digitization’ does assist with access to manuscripts, but less easily and with less open data than institutional digitization does. Instead, it allows the researcher’s intellectual agenda to guide the selection of what to photograph. The photographic process thereby becomes part of the process of analysis. Photography by the researcher is therefore limited by subjectivity but it also helps to highlight the role of subjective perspectives in scholarship. It can also balance a breadth or depth of perspective in ways different from institutional digitization. It could in theory foster increased textual scholarship but in practice has fostered attention to the materiality of the text.
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Setiawan, Agus Heru. "TUBUH DALAM KUASA KAMERA: TINJAUAN KRITIS AKTIVITAS FOTOGRAFIS LOMBA DAN HUNTING BERSAMA MEMOTRET MODEL DI INDONESIA". spectā: Journal of Photography, Arts, and Media 1, nr 1 (13.02.2018): 1–11. http://dx.doi.org/10.24821/specta.v1i1.1893.
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Popularitas penggunaan figur perempuan sebagai objek dalam aktivitas fotografi di Indonesia, telah berlangsung dalam periode waktu yang panjang. Meskipun begitu, aktivitas tersebut masih tetap digemari oleh kalangan pehobi fotografi hingga hari ini. Popularitas tersebut dibuktikandari berbagai iklan yang menawarkan kegiatan fotografis dengan model perempuan sebagai daya tariknya. Hal ini masih banyak ditemukan, terutama dalam media sosial. Tulisan ini mencoba untukmelakukan pembacaan secara kritis atas aktivitas fotografis di Indonesia (produksi, distribusi dan konsumsi foto) yang menempatkan tubuh perempuan sebagai titik pusatnya. Praktek fotografispopuler tersebut, teridentifikasikan melalui lomba memotret, hunting bersama dan aktivitas sejenis yang melibatkan model perempuan. Di dalam kegiatan fotografi ini, medium foto dan instrumenpendukungnya, bukan hanya dimanfaatkan untuk membentuk praktek pengobjektivikasian terhadap tubuh perempuan, akan tetapi juga membantu melanggengkan gagasan dominasi kuasa patriarkis terhadap perempuan.Kata kunci: kuasa, aktivitas fotografi, model perempuan, patriarkis Abstract Body in the Power of a Camera: Critical Review on Photographic Activities of Competition and Shared Hunting for Photographing Photo Model in Indonesia. The use of women as the objects of photographic activities has been popular for a long period of time in Indonesia. We can see the popularity of this today from the wide range of ads that offer photographic activities with female models as their major appeal. This is still widely found, especially in social media. This paper attempts to make a critical reading of photographic activities in Indonesia (production, distribution and consumption of photos) which place the female body as the center of attention. These popular photographic practices are photo competitions, photo hunts and others. In these photographic activities, the medium of photography and its instruments do not only shape the practice of objectification of women’s bodies, but also help perpetuate the idea of patriarchal domination over women. Keywords: power, photographic activities, female model, patriarchy
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Lee, So-Rim. "Between Plastic Surgery and the Photographic Representation: Ji Yeo Undoes the Elusive Narrative of Transformation". positions: asia critique 30, nr 4 (1.11.2022): 705–33. http://dx.doi.org/10.1215/10679847-9967318.
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Abstract This essay looks at New York–based South Korean photographer Ji Yeo's two photographic series Beauty Recovery Room and It Will Hurt a Little. Tracing the social rhetoric on plastic surgery in South Korea after the 1997 IMF Crisis, it takes Yeo's photographs as counterexamples to the sensationalized depiction of plastic surgery as a symbol of upward mobility put forth by Seoul's private clinics. It argues that Yeo's images re-present surgery as a practice of bodily rupture necessitating an affective, material, and durational process of recovery, thereby demystifying the elusive narrative of cosmetic transformation promised by South Korea's plastic surgery industry. Exploring the performative affinities and disparities between the photographic representation and plastic surgery, it contends that Yeo's images ultimately humanize the individuals that experience the solitary process of healing.
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Snyder, Robert E. "Margaret Bourke-White and the Communist Witch Hunt". Journal of American Studies 19, nr 1 (kwiecień 1985): 5–25. http://dx.doi.org/10.1017/s0021875800020028.
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Margaret Bourke-White (1904–1971) has been called “the most famous woman photographer” and “the finest woman photographer of our times.” Indeed, in a photographic career that spanned nearly five decades, Bourke-White demonstrated great professional versatility, registered many photographic firsts, and in a male-dominated field set standards by which others were measured. During the 1920s, Bourke-White carved out her first reputation in architectural and industrial photography. Her pictures of steel mills, shipyards, packing houses, logging camps, quarries, auto plants, skyscrapers, banks, and terminals captured the atmosphere of the industry and the dynamics of the capitalist system. Her industrial photography was of such outstanding quality that, as one critic observed, it “transformed the American factory into a Gothic cathedral.”Henry Luce was so impressed by her early work that he hired her as the first photographer for his business magazine Fortune. Under a unique arrangement she was allowed six months out of the year to pursue her own private studio practice for advertising agencies and corporations. When Henry Luce added the pictorial magazine Life to his growing publishing empire in the 1930s, he selected Margaret Bourke-White to become one of the four original staff photographers. At Life she established the tradition of negatives printed full frame and proved by black borders, and pioneered the synchronized multiple flash picture. Bourke-White revealed the range of her photographic talents in photo essays, murals, and documentary travelogues. “As a result of her twelve- and fourteen-page essays,” Carl Mydans noted, “her monumental work became known throughout the world — beyond that of any other photographer.”
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Hill, Rodrigo. "Contemporary photography practice: From landscape to expanded modes of place representation". Revista 2i: Estudos de Identidade e Intermedialidade 3, nr 4 (31.12.2021): 167–85. http://dx.doi.org/10.21814/2i.3455.
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Contemporary photographic practice has evolved into a broad field of possibilities, a flux of representational modes that represent emotions, experiences and feelings. In parallel the depth and layering of places offers a stimulating challenge to researchers and artists whom are willing to creatively explore nuances of land and nature as well as the multi-sensorial and spatial “reality” of places. The Waikato River is my research locale, located in the central North Island of Aotearoa New Zealand. I draw on contemporary photography practice and theory to develop multimodal approaches to my research place, expanding objective modes of landscape and place representation. I trace a timeline from early landscape photography practice particularly during the British colonisation in New Zealand juxtaposing my photography practice as a counter approach to Eurocentric modes of place representation. This is informed by local Waikato Māori cosmologies and more contemporary readings on place. As a result I conceptualised a theoretical framework around the notion of place imaginaries as a creative platform for the development of expanded photographic modalities.
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Kim, Kyoung-hwa Yonnie. "Tactile photography". INTERIN 25, nr 1 (6.12.2019): 101–20. http://dx.doi.org/10.35168/1980-5276.utp.interin.2020.vol25.n1.pp101-120.
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Although much of the previous work on mobile photography has focused on its role for visual communication in networked visuality (Van House et all. 2005; van Dijck 2007, 2013, etc.), the substantial proportion of mobile digital photography remains unshared. Visuality may not be a core practice to frame such photos practiced within wider practical contexts such as inscribing, personal archiving, carrying-with, and even being forgotten. To examine this less-articulated but pervasive phenomenon, this paper examines the sensitive aspect of mobile photography as an extension of debates regarding the tactile adoption of mobile media (Cooley 2004, Verhoeff 2012, Pink et al 2016, etc.). Based on ethnographic data with Japanese users, it explores how mobile media has affected photographic practices and a new visual culture, herein termed “tactile photography.”
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Kondratiev, E. A. "Punctum and Reinterpretation in Photography". Art & Culture Studies, nr 2 (czerwiec 2021): 38–59. http://dx.doi.org/10.51678/2226-0072-2021-2-38-59.
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The article discusses various theoretical approaches that develop the concepts of punctum and formless in relation to the photographic image. Their connection with the concept of “visual turn” in aesthetics and art theory is examined. Using examples from contemporary artistic and photographic practice, the author demonstrates the change in ideas about the boundaries of representation and ways of reinterpreting modern photography.
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Thomas, Nicole. "Should photographic triage become common practice?" Evidence-Based Dentistry 22, nr 2 (styczeń 2021): 52–53. http://dx.doi.org/10.1038/s41432-021-0170-6.
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Weinstein, Michael A. "Photographic realism as a moral practice". Journal of Value Inquiry 26, nr 2 (kwiecień 1992): 175–88. http://dx.doi.org/10.1007/bf00138966.
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Golia, Maria. "Surrealism and Photography in Egypt". Nka Journal of Contemporary African Art 2021, nr 49 (1.11.2021): 144–62. http://dx.doi.org/10.1215/10757163-9435751.
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Over the course of three years researching thousands of old photographs for her 2010 book Photography and Egypt (Reaktion Books), the author came across few examples of what might be termed “surrealist photography” in Egypt and little evidence for the exhibitions organized by Art and Liberty, a group of Egyptian artists and writers who resisted the Nazi and fascist risings before and after World War II. Anchored by Samir Gharib’s Surrealism in Egypt and Plastic Arts; correspondence between photographer Lee Miller, living in Cairo in the 1940s, and British artist and poet Roland Penrose; and Donald LaCoss’s work and correspondence with Roland Penrose’s son, Anthony, this article elaborates and adjusts some of the perceptions of the Art and Liberty group that appeared in Photography and Egypt. The group would eventually feel the wrath of the Anglo-Egyptian authorities for providing translations of Marxist-Leninist texts, condemnations of anti-fascist and anti-imperialist ideals and politics, and affirmations of social reform and freedom of expression. On the other hand, the author supposes that it may also be the case that only a few photographic works produced by artists associated with the Art and Liberty group can be called “surrealist” at all, as Egypt’s surrealist moment left more prominent traces in painting and literature. Nonetheless, Art and Liberty’s activities acknowledged photography as a creative medium at an early, experimental stage in its development, before it was derailed by the 1952 Officer’s Revolution and, later, pressed into the service of the state. Despite the lack of access to the photographic record of works produced for or around Art and Liberty exhibitions, the author contributes contextual details for both those shows and the practice of photography around the time the group was active, illustrated by seminal images of works by Kamel Telmisany, Hassan El-Télmissany, Idabel, Hassia, Fouad Kamel, Wadid Sirry, Lee Miller, and others.
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A. I., Tapol. "CRISIS OF MODERN VISUAL PRACTICES". UKRAINIAN CULTURAL STUDIES, nr 2 (5) (2019): 41–47. http://dx.doi.org/10.17721/ucs.2019.2(5).08.
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The article focuses on the analysis of the liquefaction of basic settings of the modernity's visual practises, specifically of signification regime and mode. The general dynamics of historical types of visual practices and the role of the Modern vision regime in it are described. The visual parameters of the signifying modes of realism and modernism are defined. The crisis of modern visual practices is specified through the logic of their transformation. The status of photography as the basic visual practice of the modernism signifying mode is proved. From the beginning of the era of "technical production" the pathos of the position of the artist as the producer of the image requires not only the act of creation, but also the aim of commercialization, which entails the act of "exhibiting", a certain way of presentation. An important aspect of the artist's mission is to move the image from the everyday and profane (if we resort to aesthetic categorical apparatus) spheres to the space of the artistic field. A striking example of the dilution of the visual parameters of high Modernity is photography. The lens becomes the mediator of the act of see- ing the person, and subject-object relations with the world break because of the mediocrity of the photographic image, which promotes its reality. Photo documentation creates a new form of perception of time – fragments in which some events are identified as important and some remain peripheral. If an artist thinks of painting (Cézanne's thought) and has creative thinking, then a photographer who thinks of frames only reduces being to the individual. A photo does not simply reflect reality, it reproduces reality, that is, it transfers it from thing to reproduction of things, pho- tography carries the existence of a photographed object. And as a result, we recognize that the photographic image is the object itself. Photography as an image begins to organize not only high culture, but also everyday life, being the basis of visuality and the basis of everyday social practices. The transformations that photo-images make to the parameters of Modernity's visuals form the basis for visual postmodernism.
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Kazakevych, Gennadii. "Memory Factories: Professional Photography in Kyiv, 1850-1918". Text and Image: Essential Problems in Art History, nr 1 (2020): 82–101. http://dx.doi.org/10.17721/2519-4801.2020.1.06.
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The article deals with the early history of photographic industry in Kyiv as a complex cultural phenomenon. Special attention is focused on the portrait photography as a ‘technology of memory’. It involves methods of social history of art, prosopography and visual anthropology. The study is based on the wide scope of archival documents, including the correspondence of publishing facilities inspector, who supervised the photographic activity in Kyiv from 1888 to 1909. By the early 20th century, making, collecting, displaying and exchanging the photographic portraits became an important memorial practice for townspeople throughout the world. In the pre-WWI Kyiv dozens of ateliers produced photographic portraits in large quantities. While the urbanization and economic growth boosted migration activity and washed out traditional family and neighborhood networks, the photography provided an instrument for maintaining emotional connections between people. The author emphasizes the role of a professional photographer who acted as a maker of ‘memory artifacts’ for individuals and families and, therefore, established aesthetic standards for their private visual archives. It is stated that the professional photography played a noticeable role in modernization and westernization of Kyiv. With its relatively low barrier to entry, it provided a professionalization opportunity for women, representatives of the lower social classes or discriminated ethnic groups (such as Poles after the January Insurrection, and Jews). While working in a competitive environment, photographers had to adopt new technologies, improve business processes and increase their own educational level. At the same time, their artistic freedom was rather limited. The style of photographic portrait was inherited from the Eighteen and Nineteen-century academic art, so it is usually hard to distinguish photographic portraits made in Kyiv or in any other European city of that period. Body language of models, their clothing and personal adornments as well as studio decorations and accessories aimed to construct the image of successful individuals, faithful friends, closely tied family members with their own strictly defined social roles etc. The old-fashioned style of the early twentieth century portraiture shaped the visual aesthetics of photographic portrait that was noticeable enough even several decades later.
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Hill, Sarah Patricia. "Double exposures: the photographic afterlives of Pasolini and Moro". Modern Italy 21, nr 4 (listopad 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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Botar, Oliver A. I. "László Moholy-Nagy's New Vision and the Aestheticization of Scientific Photography in Weimar Germany". Science in Context 17, nr 4 (grudzień 2004): 525–56. http://dx.doi.org/10.1017/s0269889704000250.
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ArgumentI propose that both Moholy-Nagy's suggestions that products of applied, particularly scientific, photography be employed as exemplars for art photography, and his practice of integrating such applied photographs with art photographs in his publications and exhibitions, laid the groundwork for an aestheticization of scientific photography within the twentieth-century artistic avant-garde. This photographic “New Vision,” formulated in the 1920s, also effected a kind of “scientization” of art photography. Rather than Positivist mechanism, however, I argue that the science at play was “biocentrism,” the early twentieth-century worldview that can be described as Naturromantik updated by biologism. His key inspiration in this regard was one of the most important figures of biocentrism, the biologist and popular scientific writer Raoul Heinrich Francé, and his conception of Biotechnik [bionics], in which he proposed that all human technologies are based in natural technologies.The biological, pure and simple, taken as the guide.– Moholy-Nagy (1938, 198)
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Poluektova, Tatiana A. "Phototextuality as a Poetological Category of the English Novel: Stating the Problem". Вестник Пермского университета. Российская и зарубежная филология 13, nr 4 (2021): 100–110. http://dx.doi.org/10.17072/2073-6681-2021-4-100-110.
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The article deals with phototextuality as a poetological category of the modern English novel. An attempt is made to define the term ‘phototextuality’. A brief historiography of the issue is presented. The focus is basically on photographic ecphrasis, which we define as a description of a photograph being the subject of the character’s reflection or a result of cooperation of the photographer and the model. The article introduces two differentiating terms: protophotonekphrasis, which has a real photoprototype in the culture, and a notional photoekphrasis, created exclusively by the author’s imagination. Each of these photoekphrases is an active structure-forming component of both the issues raised and the poetics of the analyzed novels: Master Georgie (1998) by B. Bainbridge, The Photograph (2003) by P. Lively, The Rain Before It Falls (2007) by J. Coe, The Unseen (2011) by K. Webb. We investigate the functionality of photoekphrasis as a structural-semantic unit of literary text at the following levels: plot and composition, narrative, chronotope, system of images-characters. Photoekphrasis, organically fitting into the postmodern themes and subject matter of the novels, brings to the fore the concepts of memory, identity, fact and fiction, death and others as motives-themes and motives-problems. Basing on the analysis performed, we propose a classification of novels depending on the type of photographs presented in them – staged or random (natural): 1) a novel-photoreconstruction and 2) a novel-photoreflection. Photographic ekphrasis as a type of phototextuality can be considered one of the basic narrative strategies in literary practice of the late 20th – early 21st centuries.
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Suga, Keijiro. "Looking Back at the Phenomenocene". boundary 2 46, nr 3 (1.08.2019): 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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Dou, Yue. "The Application of Video Technology in Dance Courses". Art and Society 1, nr 3 (grudzień 2022): 38–43. http://dx.doi.org/10.56397/as.2022.12.04.
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Photography and audiovisual products are used in many ways as a technological means of recording coherent things. The art of dance as both visual and aural art is a good match for the nature of photographic technology. This has led to the use of photography in dance training and dance documentation as a means of giving visual feedback to dancers. However, due to the reproducibility and high distribution of photography, there are still many challenges regarding copyright and user choice of photography. This article explores the challenges and applications of photographic technology in the art of dance from a variety of perspectives. It also discusses the development of photographic technology as a means of promoting the discipline of dance at a time when virtual teaching is widely used in all disciplines. Using the example of the covid-19 online dance course, it explores the advantages and disadvantages of its use in practice.