Щоб переглянути інші типи публікацій з цієї теми, перейдіть за посиланням: Photographic theory.
Статті в журналах з теми "Photographic theory"
Оформте джерело за APA, MLA, Chicago, Harvard та іншими стилями
Ознайомтеся з топ-50 статей у журналах для дослідження на тему "Photographic theory".
Біля кожної праці в переліку літератури доступна кнопка «Додати до бібліографії». Скористайтеся нею – і ми автоматично оформимо бібліографічне посилання на обрану працю в потрібному вам стилі цитування: APA, MLA, «Гарвард», «Чикаго», «Ванкувер» тощо.
Також ви можете завантажити повний текст наукової публікації у форматі «.pdf» та прочитати онлайн анотацію до роботи, якщо відповідні параметри наявні в метаданих.
Переглядайте статті в журналах для різних дисциплін та оформлюйте правильно вашу бібліографію.
1
Tee, Sim-Hui. "Transparency, Photography, and the A-Theory of Time." Problemos 93 (October 22, 2018): 177–92. http://dx.doi.org/10.15388/problemos.2018.93.11761.
Повний текст джерелаАнотація:
[full article, abstract in English; only abstract in Lithuanian]
Walton’s thesis of transparency of photographs has spurred much dispute among critics. One of the popular objections is spatial agnosticism, an argument that concerns the inertia of egocentric spatial information vis-a-vis a photograph. In this paper, I argue that spatial agnosticism fails. Spatial agnostics claim, for a wrong reason, that a photographic image cannot carry egocentric spatial information. I argue that it is the disjuncture of the photographic world in which the depicted object situated from the space in which the viewer of the photograph resides that renders the photograph spatially agnostic. It is the timeless photographic world rather than the photographic object that renders egocentric spatial information inert. With this new formulation of spatial agnosticism, I propose that spatial agnosticism needs to be coupled with the temporal dimension (the A-theory of time) in the efforts to refute the thesis of transparency of photographs.
2
Browning, Kathy. "Scotland." Diversity of Research in Health Journal 1 (June 21, 2017): 144. http://dx.doi.org/10.28984/drhj.v1i0.62.
Повний текст джерелаАнотація:
I spent 14 days of intensive photographic research taking 10 000 photographs while travelling around the coast of Scotland. This includes the incredible architecture in ancient cities; amazing, magical landscapes of heather shrouded moorlands, expansive glens with grass covered hills and lowlands, and black and red mountains; and magnificent castles. Scotland is a part of my cultural heritage. This series of photographs is a merging of my artistic and academic skills as a visual arts researcher. It is similar to grounded theory (Glaser & Strauss, 1967) used for my academic research wherein I let Scotland tell me what photographs needed to be taken and my photographic eye knew when to take the photograph from my years of experience as a photographer.
Each of the photographs tells a visual story. As I continuously edited my photographs for months while making files in folders I asked myself: What was my experience of Scotland? How can I represent this experience so that it has the feeling of what each inspiring photograph had when I took the shot? It is a reliving and recreating of experience while working with specialty silver papers and creating triptychs, diptychs and other layouts to photographically tell the stories. These 19-limited edition colour archival quality giclée photographic prints are the result of my photographic Scotland experience. An exhibition is a publication and the exhibition of these photographs is supported by LURF.
3
Baker, George. "Sharing Seeing." October 174 (December 2020): 163–75. http://dx.doi.org/10.1162/octo_a_00412.
Повний текст джерелаАнотація:
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.
4
Ray, Larry. "Social Theory, Photography and the Visual Aesthetic of Cultural Modernity." Cultural Sociology 14, no. 2 (May 11, 2020): 139–59. http://dx.doi.org/10.1177/1749975520910589.
Повний текст джерелаАнотація:
Social theory and photographic aesthetics both engage with issues of representation, realism and validity, having crossed paths in theoretical and methodological controversies. This discussion begins with reflections on the realism debate in photography, arguing that beyond the polar positions of realism and constructivism the photographic image is essentially ambivalent, reflecting the ways in which it is situated within cultural modernity. The discussion draws critically on Simmel’s sociology of the visual to elucidate these issues and compares his concept of social forms and their development with the emergence of the photograph. Several dimensions of ambivalence are elaborated with reference to the politics and aesthetics socially engaged photography in the first half of the 20th century. It presents a case for the autonomy of the photographic as a social form that nonetheless has the potential to point beyond reality to immanent possibilities. The discussion exemplifies the processes of aesthetic formation with reference to the ‘New Vision’ artwork of László Moholy-Nagy and the social realism of Edith Tudor Hart.
5
Hess, Scott. "William Wordsworth and Photographic Subjectivity." Nineteenth-Century Literature 63, no. 3 (December 1, 2008): 283–320. http://dx.doi.org/10.1525/ncl.2008.63.3.283.
Повний текст джерелаАнотація:
This essay argues that William Wordsworth's poetry constructs a subject position analogous to that of the photographic viewer: hence, a photographic subjectivity. Critics have often read Wordsworth's writing as opposing imagination against visibility and mimetic realism. Many of the visual structures of his poetry, however, continue the structures of the picturesque, whose desire to capture the landscape as framed image culminated in the technology of photography. These structures of perception include the stationed point of view of the observer, focusing the scene from a single location; the tendency to reduce the multisensory, ambient experience of lived environment to pure vision; the separation of the observer from the landscape; and the resulting general disembodiment of that observer. Much of Wordsworth's poetry positions the observer in these ways in order to capture images that can then be viewed in private isolation (as in the ““spots of time””), like a series of internalized photographs. These structures of visuality construct what would emerge, after the invention of photography, as a photographic subjectivity, complementing (rather than opposing) the objectivity of the photographic image. They define the viewing subject, in the manner of photography, as a mobile, seemingly autonomous self in an appropriative relationship to landscape——the paradigm of the modern self, taking a ““view from nowhere”” on a world captured as image. The stability, unity, and autonomy of the Wordsworthian self ultimately depend on these photographic relationships.
6
Harrison, Barbara. "Photographic visions and narrative inquiry." Narrative Inquiry 12, no. 1 (September 26, 2002): 87–111. http://dx.doi.org/10.1075/ni.12.1.14har.
Повний текст джерелаАнотація:
This paper examines the ways in which photographic images can be used in narrative inquiry. After introducing the renewed interest in visual methodology the first section examines the ways in which researchers have utilised the camera or photographic images in research studies that are broadly similar to forms of narrative inquiry such as auto/biography, photographic journals, video diaries and photo-voice. It then draws on the published literature in relation to the author’s own empirical research into everyday photography. Here the extent to which the practices which are part of everyday photography can be seen as forms of story-telling and provide access to both narratives and counter-narratives, are explored. Ideas about memory and identity construction are considered. A critical area of argument centres on the relationship of images to other texts, and asks whether it is possible for photographs to narrate independent of written or oral word. It concludes with some remarks about how photographs can be used in research and as a resource for narrative inquiry. This necessitates a understanding of what it is people do with photographs in everyday life.
7
Paradis, James G. "PHOTOGRAPHY AND IRONY: THE SAMUEL BUTLER PHOTOGRAPHY EXHIBITION AT THE TATE BRITAIN." Victorian Literature and Culture 33, no. 1 (March 2005): 318–22. http://dx.doi.org/10.1017/s1060150305230863.
Повний текст джерелаАнотація:
AN EXHIBITION of Samuel Butler's photography in Gallery Sixteen, an elegant rotunda room just off the entrance to the Tate Britain, offered a rare opportunity to see some of the photography of the author of Erewhon and to contemplate how Victorian photographic realism fares in the setting of a modern museum. The exhibition, celebrating the centenary of Butler's death, ran from November 2002 to May 2003 and was made up of thirty-five framed photographs, some of them digitally touched up by Dudley Simons, and an assortment of photobooks and editions of Butler's self-illustrated volumes. It was developed by Tate curator Richard Humphreys and Butler scholar Elinor Shaffer, with the support of librarian Mark Nicholls from St. John's College at Cambridge, which houses most of Butler's extensive photographic work in its special collections. Titled “Samuel Butler and the Ignorant Eye,” after Shaffer's notion in her Erewhons of the Eye: Samuel Butler as Painter, Photographer, and Art Critic (1988) that Butler's photography renders “the eye of the viewer … ignorant and open” (229), the black-and-white secularism of Butler's work offered a startling change in imagery from the intense colorism of “Rossetti and Medievalism,” the exhibit that preceded it in Gallery sixteen.
8
Brown, Terry M. "Transcending the colonial gaze: Empathy, agency and community in the South Pacific photography of John Watt Beattie1." Journal of New Zealand & Pacific Studies 8, no. 2 (December 1, 2020): 151–70. http://dx.doi.org/10.1386/nzps_00035_1.
Повний текст джерелаАнотація:
For three months in 1906, John Watt Beattie, the noted Australian photographer – at the invitation of the Anglican Bishop of Melanesia, Cecil Wilson – travelling on the church vessel the Southern Cross, photographed people and sites associated with the Melanesian Mission on Norfolk Island and present-day Vanuatu and Solomon Islands. Beattie reproduced many of the 1500-plus photographs from that trip, which he sold in various formats from his photographic studio in Hobart, Tasmania. The photographs constitute a priceless collection of Pacific images that began to be used very quickly in a variety of publications, with or without attribution. I shall examine some of these photographs in the context of the ethos of the Melanesian Mission, British colonialism in the Solomon Islands, and Beattie’s previous photographic experience. I shall argue that Beattie first exhibited a colonial gaze of objectifying his dehumanized exotic subjects (e.g. as ‘savages’ and ‘cannibals’) but with increased familiarity with them, became empathetic and admiring. In this change of attitude, I argue that he effectively transcended his colonial gaze to produce photographs of great empathy, beauty and longevity. At the same time, he became more critical of the colonial enterprise in the Pacific, whether government, commercial or church.
9
Ijuin, Takayuki. "Michelangelo Antonioni’s Blow-Up as Abstract Art Theory." AM Journal of Art and Media Studies, no. 19 (September 15, 2019): 59. http://dx.doi.org/10.25038/am.v0i19.307.
Повний текст джерелаАнотація:
As is well known, Blow-Up (1966) directed by Michelangelo Antonioni is based on Julio Cortázar’s short story; “Las babas del diablo” (1959). In literary terms, it is very difficult to find similarities between both works, except in their outlines. Many critics, therefore, thought Blow-Up was Antonioni’s own film with no special connection with “Las babas del diablo”. But we should focus on the common outlines of the two. Both deal with ‘vision’. The change of seeing through a viewfinder to seeing through a photographic print gives the protagonists a daydream-like experience.Cortázar was not only a writer but also an amateur photographer, and Antonioni a film director. If both auteurs reveal their interest in ‘vison’ in their works, we can say that Antonioni follows Cortázar regarding this theme and further develops it through his use of abstract paintings. Antonioni was concerned with differences between the vision of the naked eye and photographic vision, and with similarities between the photographic vision and abstract painting. So, what is Antonioni’s understanding of vision?I think there is a key to resolve this question in Blow-Up itself. One can focus on not only the change of the protagonist’s behavior in following the story’s development, but also on photographs, abstract paintings, and landscape paintings that appear in the film. Then we would find the possibility that Antonioni thinks photographs and pointillist paintings are based on the same principle; the retinal mesh-like structure. Article received: April 10, 2019; Article accepted: June 5, 2019; Published online: September 15, 2019; Original scholarly paperHow to cite this article: Ijuin, Takayuki. "Michelangelo Antonioni’s Blow-Up as Abstract Art Theory." Art and Media Studies 19 (2019): 59-68. doi: 10.25038/am.v0i19.307
10
Moosavian, Rebecca. "Stealing ‘souls’? Article 8 and photographic intrusion." Northern Ireland Legal Quarterly 69, no. 4 (December 7, 2018): 531–58. http://dx.doi.org/10.53386/nilq.v69i4.190.
Повний текст джерелаАнотація:
In Article 8 ECHR privacy right jurisprudence, photographs are deemed distinct forms of information that are particularly intrusive in nature. This article is concerned with explaining why this is so. Part 1 examines the notion of ‘intrusion’ itself. It argues that ‘intrusion’ functions as a legal metaphor and plays an important role in constructing a binary between an outer self presented to the world and a ‘spiritual’, emotional interior that privacy purports to protect from transgression. Part 2 argues that this ‘spiritual intrusion’ metaphor is influential in the continental personality right that informs the ECtHR’s approach to Article 8 protection for photographed individuals. This leads to potentially stronger protection for image, including a basic Article 8 right to control one’s image. Yet there is a divergence of approach in the English courts, where personality theory has limited influence; here there is traditional scepticism towards an image right and photographic capture is largely neglected. Part 3 argues that photography becomes a relevant factor at publication stage, where courts agree that the distinctive features of the medium may cause or exacerbate intrusion. This is because photography creates a permanent, infinitely replicable ‘truthful’ record of the individual’s image that can be disseminated to the objectifying gaze of a mass audience. But the medium also leads viewers to overlook its inherent complexities and ambiguities. Ultimately, Article 8 jurisprudence, particularly in the ECtHR, occasionally adopts reasoning that contains echoes of the ‘photographs steal souls’ mythology.
11
Koureas, Gabriel. "Parallelotopia: Ottoman transcultural memory assemblages in contemporary art practices from the Middle East." Memory Studies 12, no. 5 (October 2019): 493–513. http://dx.doi.org/10.1177/1750698019870689.
Повний текст джерелаАнотація:
This article engages with the conversations taking place in the photographic space between then and now, memory and photography, and with the symbiosis and ethnic violence between different ethnic communities in the ex-Ottoman Empire. It questions the role of photography and contemporary art in creating possibilities for coexistence within the mosaic formed by the various groups that made up the Ottoman Empire. The essay aims to create parallelotopia, spaces in the present that work in parallel with the past and which enable the dynamic exchange of transcultural memories. Drawing on memory theory, the article shifts these debates forward by adopting the concept of ‘assemblage’. The article concentrates on the aesthetics of photographs produced by Armenian photographic studios in Istanbul during the late nineteenth century and their relationship to the present through the work of contemporary artists Klitsa Antoniou, Joanna Hadjithomas, Khalil Joreige and Etel Adnan as well as photographic exhibitions organised by the Centre for Asia Minor Studies, Athens, Greece.
12
Schaefer, William. "Photographic Ecologies." October 161 (August 2017): 42–68. http://dx.doi.org/10.1162/octo_a_00303.
Повний текст джерелаАнотація:
In his body of photographs, Samalada (2008), the Chinese artist Adou uses extremely expired film; the resulting artifacts—marks of the animal, vegetable, and mineral matter composing film surfaces—are as visible a part of the photographs as their depictions of relations among humans, animals, plants, cultural artifacts, earth and sky in southwestern China. Adou and other photographers in China, Japan, and the West working in a time of environmental crisis understand film itself in ecological terms. The very materiality and forms of photographic images are emergent from and interact with larger ecosystems of matter, bodies, spaces, surfaces, markings, liquids, pollution, light, and the atmosphere, thereby allowing the human to be seen as one among many contingent agents within ecological processes. Photography thus becomes a crucial site for staging and rethinking fundamental questions of the relations between culture and nature—and for learning to picture the Anthropocene.
13
Kukielko-Rogozinska, Kalina. "Twelve Insights into the Afghanistan War through the Photographs from the Basetrack Project: Rita Leistner’s iProbes and Marshall McLuhan’s Theory of Media." Arts 10, no. 2 (April 22, 2021): 27. http://dx.doi.org/10.3390/arts10020027.
Повний текст джерелаАнотація:
This article presents the iProbe concept developed by the Canadian photographer Rita Leistner. This analytical tool is one of the ways to present the image of modern warfare that emerges from messages in social media and photographs taken using smartphones. Utilized to understand the approach are photographs Leistner took at the American military base in Musa Qala (Helmand province, Afghanistan) during the implementation of the “Basetrack” media project in 2011. The theoretical basis for this study is Marshall McLuhan’s media theory, which was used by the photographer to interpret her works from Afghanistan. Leistner is the first to apply the various concepts shaped by McLuhan in the second half of 20th century, such as “probe”, “extension of man”, and the “figure/ground” dichotomy, to analyze war photography. Her blog and book entitled Looking for Marshall McLuhan in Afghanistan shows the potential of using McLuhan’s concepts to interpret the image of modern warfare presented in the contemporary media. The application of McLuhan’s theory to this type of photographic analysis provides the opportunity to focus on the technological dimension of modern war and to look at warfare from a technical perspective such as what devices and communication solutions are used to solve armed conflicts as efficiently and bloodlessly as possible. Therefore, this article briefly presents twelve iProbes that Leistner created based on her experiences from working in Afghanistan concerning photography, military equipment, interpersonal relations, and various types of communication.
14
Stafford, Andy. "Bazin and Photography in the Twenty-First Century: Poverty of Ontology?" Paragraph 36, no. 1 (March 2013): 50–67. http://dx.doi.org/10.3366/para.2013.0077.
Повний текст джерелаАнотація:
According to André Rouillé (2005) the search for photography's ontology is both fruitless and pointless. Six decades after André Bazin's seminal essay, ‘The Ontology of the Photographic Image’ (1945), there is a concerted attempt to remove photography from the ‘reliquary’ of death in which Bazin had (seemingly) locked it. Preferring ‘genesis’ to ‘result’, Bazin had suggested that photography benefited from an ‘essential objectivity’ and that it was close to being a ‘natural phenomenon’: for the first time in history, representation of the external world emerges, mechanically, without human intervention. For Rouillé however, this is a ‘poverty of ontology’, a theory of the ‘index’ based on Peirce erroneously attached to a semiotics of the photographic image. So what happens to the photograph's temporal dimension, crucial to Bazin's definition, if we reject the image as record of the ‘that-has-been’ (Barthes)? Can we still use Bazin's ontology in the twenty-first century?
15
Wakelin, Daniel. "A New Age of Photography: ‘DIY Digitization’ in Manuscript Studies." Anglia 139, no. 1 (March 4, 2021): 71–93. http://dx.doi.org/10.1515/ang-2021-0005.
Повний текст джерелаАнотація:
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.
16
Laberge, Yves. "Photographic Theory: An Historical Anthology." British Journal of Aesthetics 56, no. 2 (April 2016): 203–6. http://dx.doi.org/10.1093/aesthj/ayu094.
Повний текст джерела
17
Bear, Jordan. "Photographic Theory: An Historical Anthology." History of Photography 39, no. 2 (April 3, 2015): 203–4. http://dx.doi.org/10.1080/03087298.2015.1030184.
Повний текст джерела
18
Singh, Amrita. "Photographic silence: Remediating the graphic to visualize migrant experience in Shaun Tan’s The Arrival." Studies in Comics 11, no. 2 (November 1, 2020): 321–39. http://dx.doi.org/10.1386/stic_00033_1.
Повний текст джерелаАнотація:
In the absence of a verbal language, The Arrival’s mode of representation is derived from various visual storytelling practices in addition to the comic. This article proposes that Tan remediates the mode of comics storytelling by presenting the narrative as a photo album and drawing the panels as photographs, and in turn the photograph is also remediated in the text as a drawn object. Using transmedial techniques such as focalization, gaze, framing and page layout, in addition to deliberations on style and form, Tan constructs comics storytelling with a photographic vision. This photographic vision is used to represent the experience of migration in the narrative as well as connect past and contemporary histories of migration world over. The photograph emerged as an important medium through which memory came to be visualized in the twentieth century, and is an important historical artefact capable of telling the story of its times. Tan also expects the reader to employ an intermedial and intertextual critical literacy to engage with the narrative. The visual poetics of the text direct the reader’s affective and empathetic engagement with the situation being presented and with the character whose experience they encode. The article focuses on three kinds of photographic representation in the narrative: the iterations of the protagonist’s family photograph, the narrative itself shaped as a photo album and the immigrant’s identification photograph.
19
Kanicki, Witold, and Geoffrey Batchen. "Magical Thinking: Conversation with Geoffrey Batchen." Magic, Vol. 5, no. 1 (2020): 4–9. http://dx.doi.org/10.47659/m8.004.int.
Повний текст джерелаАнотація:
His long-standing interest in the history of early photography makes Geoffrey Batchen the appropriate speaker to discuss the question of photographic magic. Therefore, our conversation oscillates between magic and realism, but also other antonyms within the medium: negative and positive, analogue and digital. Taking in consideration all these oppositional notions, Batchen suggests that theoreticians “need to acknowledge and embrace photography’s abstractions and contradictions”. Different contradictions within photography’s theory and history became pivotal in our conversation. We also discussed the indexicality of digital images. According to Batchen, the negative/positive system of traditional photography can be compared with the binary code of digital images, which “is therefore based on the same oppositional logic, the same interplay of one and its other, that generated the analogue photograph.” Moreover, digitality does not eliminate the magic character of the contemporary photographs; in this context, Batchen mentions the capacity of instant transmission of snapshots from one place of Earth to another. In conclusion, Batchen reveals some details of his upcoming book Negative/Positive: A History of Photography. Keywords: magic, indexicality, negative, digital, Barthes
20
Rissanen, Mari-Jatta. "Entangled photographers: Agents and actants in preschoolers’ photography talk." International Journal of Education Through Art 16, no. 2 (June 1, 2020): 271–86. http://dx.doi.org/10.1386/eta_00031_1.
Повний текст джерелаАнотація:
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.
21
Niemelä-Nyrhinen, Jenni, and Janne Seppänen. "Visual communion: The photographic image as phatic communication." New Media & Society 22, no. 6 (September 14, 2019): 1043–57. http://dx.doi.org/10.1177/1461444819876237.
Повний текст джерелаАнотація:
Phatic communication is a mode of communication where the significative content of the used utterance gives way to the social bonding function of the utterance itself. This mode of communication appears to be increasingly common in our current media culture and is exemplified by frequent photo sharing through applications such as Snapchat. However, most theoretical discussions on phatic communication have taken place in the context of linguistic expressions. In this theoretical article, we broaden the focus to visual interpersonal communication by way of photography theory. We suggest that photographic phatic communication is based on the indexicality of the medium itself and the sense of presence it produces. We argue further that, contrary to previous literature, photographic phatic communication is not without meaningful content. However, we propose that it is connected, primarily, to the material indexicality of the photograph and only secondarily to the signifying function of the iconic content.
22
Flint, K. "Photographic Fictions." Novel: A Forum on Fiction 42, no. 3 (September 1, 2009): 393–99. http://dx.doi.org/10.1215/00295132-2009-033.
Повний текст джерела
23
Kondratiev, E. A. "Punctum and Reinterpretation in Photography." Art & Culture Studies, no. 2 (June 2021): 38–59. http://dx.doi.org/10.51678/2226-0072-2021-2-38-59.
Повний текст джерелаАнотація:
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.
24
Fisher, Daniel. "The Meaning of Photographic Images (Eye Contact: Photographing Indigenous Australians)." Anthropology & Humanism 32, no. 1 (June 2007): 104–6. http://dx.doi.org/10.1525/ahu.2007.32.1.104.
Повний текст джерела
25
Wall, Gina. "Writing the world: photographing the text of the landscape." Excursions Journal 1, no. 1 (September 12, 2019): 123–42. http://dx.doi.org/10.20919/exs.1.2010.131.
Повний текст джерелаАнотація:
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.
26
Lee, Edmund W. J., and Shirley S. Ho. "Are Photographs Worth More Than a Thousand Words? Examining the Effects of Photographic–Textual and Textual-Only Frames on Public Attitude Toward Nuclear Energy and Nanotechnology." Journalism & Mass Communication Quarterly 95, no. 4 (January 3, 2018): 948–70. http://dx.doi.org/10.1177/1077699017741090.
Повний текст джерелаАнотація:
This study examines the impact of photographic–textual and risk–benefit frames on the level of visual attention, risk perception, and public support for nuclear energy and nanotechnology in Singapore. Using a 2 (photographic–textual vs. textual-only frames) × 2 (risk vs. benefit frames) × 2 (nuclear energy vs. nanotechnology) between-subject design with eye-tracking data, the results showed that photographic–textual frames elicited more attention and did have partial amplification effect. However, this was observable only in the context of nuclear energy, where public support was lowest when participants were exposed to risk frames accompanied by photographs. Implications for theory and practice were discussed.
27
Cataldi, Michael, David Kelley, Hans Kuzmich, Jens Maier-Rothe, and Jeannine Tang. "Residues of a Dream World." Theory, Culture & Society 28, no. 7-8 (December 2011): 358–89. http://dx.doi.org/10.1177/0263276411425834.
Повний текст джерелаАнотація:
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.
28
Pandey, Krishna P. "How Useful Photography is in Sociological Researches on Ethnic Identity Studies?" Himalayan Journal of Sociology and Anthropology 7 (April 12, 2017): 75–95. http://dx.doi.org/10.3126/hjsa.v7i0.17151.
Повний текст джерелаАнотація:
The origins of photography and sociology date back almost at the same time, but the relationship between them was not as intimate as it was to be. Sociologists refrained from using photography as a method in their researches until the importance of qualitative research was realized. Debate is still going on whether photographs expose total social reality or just provide the possibilities of subjective interpretations in the form of partial truths. Anthropologists, to some extent, are ahead in using photographs in their ethnographic works from early years. The essay deals photography only as a means of sociologists’ engagement with issues of identity formation with reference to ethnicity. The narrative potentiality of photography, which is crucial to uncover the meanings embedded in peoples’ struggles for identity, becomes its strength to claim as a research tool in qualitative research in sociology. Furthermore, enriched with meanings photographs bring subjectivists and constructivists closer to the discipline of photography. The importance of photography in constructing meanings through grounded theory method research on ethnic identity concerns of various cultural groups, largely in south Asia, cannot be underscored since the photographic practice has already made its claim for the place in qualitative sociology and anthropology. Himalayan Journal of Sociology & Anthropology - Vol. VII (2016), Page: 75-95
29
Witkovsky, Matthew S. "Photography as Model?" October 158 (October 2016): 7–18. http://dx.doi.org/10.1162/octo_a_00267.
Повний текст джерелаАнотація:
Witkovsky argues that decades into photography's institutional acceptance as art, widespread inadequacies remain in the art historical treatment of photographs, which can no longer be defended as manifestations of a separate or distinctive “medium.” Insufficient attention to formal procedures, such as darkroom interventions between the stages of negative and print, as well as to disciplinary history—including the introduction of the very term “medium” in photographic discourse around 1930—remain commonplace. Yet despite a persistent tendency to totalize photography as a creative domain, photography as a museum department or academic field of study offers the promise to counter far larger impulses toward totalization, above all in a marketplace beset by an obsession with global contemporary art. What the study of photographs can model is a field of creation that moves in, under, and against “art in general.”
30
Amang Fathurrohman, Alfian Adi Saputra, Fauziyah Rahmawati, M. Wildan Adnan, and M. Rifqi Nur Habibi. "Peningkatan Kapasitas Fotografer Pemula Melalui Sekolah Fotografi Online (SeFO) Tingkat Jawa Timur Untuk Mewujudkan Fotografer Mahir dengan Handphone di Masa Pandemik Covid-19." SOEROPATI 2, no. 2 (May 31, 2020): 111–18. http://dx.doi.org/10.35891/js.v2i2.2064.
Повний текст джерелаАнотація:
Condition Pandemic Covid-19 has forced the Indonesian citizen to stay at home. There are no exception for novice photographers who want to add their photography skills. Through e-Comdev, the team carried out a beginner photographer's capacity building assistance through the East Java level of online photography (SeFO) by utilizing WhatsApp social media to parse the problems faced with learning photography during the Covid-19 pandemic. The results of this mentoring show that SeFO participants still have a sense of innovation in improving the capacity of photography. Their skills are also increasingly well-honed in learning the basic photography skills, namely the composition, angle of view, and the explore of the types of photographs. The photo practice they have done is getting better in accordance with the basics of photographic theory. Guided by Tim and the material prepared well is helpful to the participants to understand the material well and feel the benefits of this mentoring more maximally
31
Suga, Keijiro. "Looking Back at the Phenomenocene." boundary 2 46, no. 3 (August 1, 2019): 117–18. http://dx.doi.org/10.1215/01903659-7614171.
Повний текст джерелаАнотація:
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.
32
Čeferin, Hana. "Who’s Afraid of Photography?" Magic, Vol. 5, no. 1 (2020): 94–98. http://dx.doi.org/10.47659/m8.094.art.
Повний текст джерелаАнотація:
In contemporary horror, the photographic image is often used as the object of horror or even represents the main antagonist of the story. We can trace the origin of such depictions to the very invention of the technique of photography in the 19th century, which was also the heyday of spiritualist theories about photography making the soul of the deceased visible to the human eye using chemical compounds. A notorious example is the case of photographer William Mumler who offered well-off relatives of recently deceased people in the States to make portraits with the ghosts of their loved ones. There are also reports of some peoples that allegedly also consider the soul to be closely bound to photography and in consequence abhor photography, as the film is supposedly capable of capturing and depriving the photographed person of their soul. Films like The Ring, The Others, Peeping Tom, and The Invisible Man demonstrate how frequently uncanny photography appears in the horror film genre and open questions about the reasons of such depictions. While the theory of horror claims that horror uses specific iconography of fear to reflect the common fears of the time (e.g. an invasion of giant insects and carnivorous plants in the 50s as a consequence of American fear of a communist invasion), the article explores the issue of photography as the main antagonist in the horror genre of the 21st century and whether this means that it appears as the universal fear of digital identity, surveillance, and identity theft.
33
Djukić, Emina, and Ana Peraica. "Studio Portraiture as a Construct: Interview with Ana Peraica." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 14–17. http://dx.doi.org/10.47659/m5.014.int.
Повний текст джерелаАнотація:
Dr. Ana Peraica was born into a family of photographers. Her grandfather, as well as her father after him, run a family photo studio Atelier Perajica on the main square of Diocletian’s palace in Split, Croatia. The studio went into Ana’s hands, and she still works there herself today. Besides running the business, her main focus is photographic theory, more precise the field of contemporary arts, visual culture studies and media theory. It is very thought- provoking to see how her background and studio practice influenced her research and vice versa. In her writings she focuses on networked society, strategies of anonymity and pseudonymity, parallel hyper-narratives etc. She currently works on her new book Postdigital Arcadia in which she focuses on changes in the post digital photography (eg. aerial images and 360 images), and reflects upon the changes brought about by new visual language on our perception of reality. We spoke also about her last published book The Culture of the Selfie, an important survey on this particular contemporary phenomenon. Keywords: background, photographic backdrop, photography, selfie, studio photography
34
Chaudhary, Zahid R. "Desert Blooms." October 168 (May 2019): 92–109. http://dx.doi.org/10.1162/octo_a_00351.
Повний текст джерелаАнотація:
This essay considers the place of abstraction in documentary photography, a genre whose primary aesthetic-political commitment is usually assumed to be on the side of figuration, denotation, and facticity. Taking up photographer Fazal Sheikh's photographic series Desert Bloom, which records natural and human-made disturbances in the Naqab/Negev desert, the essay considers artistic abstraction in relation to other forms of economic, juridical, and political abstraction critical to settler colonialism in particular and capitalism more generally. How might abstraction be the very condition of politics? What might this imply for our understandings of documentary aesthetics?
35
Banerjee, Sandeep. "“NOT ALTOGETHER UNPICTURESQUE”: SAMUEL BOURNE AND THE LANDSCAPING OF THE VICTORIAN HIMALAYA." Victorian Literature and Culture 42, no. 3 (June 6, 2014): 351–68. http://dx.doi.org/10.1017/s1060150314000035.
Повний текст джерелаАнотація:
During his third expedition into the higher Himalaya in 1866, the most ambitious of his three journeys into the mountains, Samuel Bourne trekked to the Gangotri glacier, the source of the Ganges. At that site he took “two or three negatives of this holy and not altogether unpicturesque object,” the first photographs ever made of the glacier and the ice cave called Gomukh, meaning the cow's mouth, from which the river emerges (Bourne 96). These words of Victorian India's pre-eminent landscape photographer, importantly, highlight the coming together of the picturesque mode and the landscape form through the medium of photography. In this essay, I focus on Samuel Bourne's images of the Himalaya, produced between 1863 and 1870, to query the ideological power of this triangulation to produce a specific image of the mountains in late nineteenth-century Victorian India. Situating Bourne's images in relation to contemporaneous material practices of the British within the space of the Himalaya, namely, the establishment of hill stations as picturesque locales in the higher altitudes of the Indian subcontinent, I argue that the landscape form, the picturesque mode, and the photographic medium, inflect each other to tame the sublimity of the mountains by representing them as similar to the Alps.
36
Mößner, Nicola. "Photographic Evidence and the Problem of Theory-Ladenness." Journal for General Philosophy of Science 44, no. 1 (May 3, 2013): 111–25. http://dx.doi.org/10.1007/s10838-013-9219-3.
Повний текст джерела
37
Eyre, Sarah, and Xanthe Hutchinson. "Re-touched." Fashion, Style & Popular Culture 8, no. 2 (May 1, 2021): 205–10. http://dx.doi.org/10.1386/fspc_00079_1.
Повний текст джерелаАнотація:
Re-touched is a collaborative project by collage artist Sarah Eyre and fashion photographer Xanthe Hutchinson. Both artists share an interest in the female body, particularly the notion of pleasure in display and gaze between women and the body. The body of work that forms Re-touched combines photographic and collage methods in order to embody a sense of sensuality through the opening up and enfolding of the female form, on set and through the process of collage. The artists position their work within a framework of feminist theory that questions the binary thinking around the gaze. They draw on the writing of Laura U. Marks to bring a haptic quality to their photographic and collage interventions to the image, and in inviting the viewer to be touched by their images. Through this series of photographic collages, they have established a visual and tactile approach that utilizes the body, is collaborative and re-figures the power structures between model, photographer and viewer. Their images offer a way of rethinking and reshaping representations of the female nude.
38
Aziz, Abdul, John Felix, and Candy Reggi Sonia. "PRESERVASI VISUAL JARAN KEPANG TEMANGGUNG MELALUI FOTOGRAFI ESSAY." Capture : Jurnal Seni Media Rekam 10, no. 1 (January 15, 2019): 75. http://dx.doi.org/10.33153/capture.v10i1.2208.
Повний текст джерелаАнотація:
<p><em>The Jaran Kepang Temanggung is a part of cultural products and was developed on the island of Java. The researcher seeks to raise the traditional art of Jaran Kepang Temanggung as research material presenting the topic of the problems related to the visual preservation of the Jaran Kepang Temanggung. It is an effort to preserve Jaran Kepang Temanggung's traditional arts through visual media, especially photography. The researcher will document the art through photographic means. The purpose of this study is how to make a photographic work as an effort to preserve Jaran Kepang's cultural art with journalistic documentation in the form of photographic essays. The research model used in this study is to use visual methodology, since the elements used in this study are visual photography. And it will be analyzed with the semiotic theory of Roland Barthes, where the power of photography is the power of the visual language that will speak. The results of this study are that photography is able to be a good means of documentation by presenting meaningful images.</em></p><p><em> </em></p><p><strong><em>Keywords: </em></strong><em>Preservation, jaran kepang, essay photography</em></p>
39
Cartwright, Lisa. "On the Face of the Photograph, and the Moving Image: Geopolitical Affect in the Speculative Landscapes of Connie Samaras." Journal of Visual Culture 17, no. 2 (August 2018): 238–52. http://dx.doi.org/10.1177/1470412918783833.
Повний текст джерелаАнотація:
This article introduces the concept of geopolitical affect in landscape photography and video, focusing on two series by the US artist Connie Samaras: V.A.L.I.S. (2004-5) and Edge of Twilight (2011–2018). The article draws on the cybernetic affect theory of the mid-century US psychologist Silvan S Tomkins as well as the artist’s own concept of speculative landscape and critique of identity politics to consider surface, movement, and the face in landscape photography. As well, a photographic and audiovisual theory of geopolitical drive and affect, based on the work of Tomkins, is proposed.
40
Banchik, Anna Veronica. "Too Dangerous to Disclose? FOIA, Courtroom “Visual Theory,” and the Legal Battle Over Detainee Abuse Photographs." Law & Social Inquiry 43, no. 04 (2018): 1164–87. http://dx.doi.org/10.1111/lsi.12336.
Повний текст джерелаАнотація:
As law deepens its engagement with visual data, legal scholars have expressed concern that courts all too often uphold photographic evidence as objective representations of truth, rather than as necessarily partial portrayals of reality. To combat this naïve realism in legal institutions, some are incorporating insights from media studies in calling for a jurisprudence of the visual. Drawing on an ongoing lawsuit over the disclosure of detainee abuse photographs taken in Iraq and Afghanistan after September 11, I suggest this project expand its scope to examine litigants' interpretations of images in courtrooms, as well as concerns beyond photographic objectivity that arise in disclosure disputes, including images' unique privacy implications and national security risks. Though the stakes in this case are atypical, these specific concerns are to varying degrees more germane. Having all been raised before, they are likely to be heard again, if only by a single judge or jury.
41
Maura, Eduardo. "La teoría crítica de la fotografía de Theodor W. Adorno." Laocoonte. Revista de Estética y Teoría de las Artes, no. 7 (December 21, 2020): 156. http://dx.doi.org/10.7203/laocoonte.0.7.17450.
Повний текст джерелаАнотація:
Resumen: Entre los pensadores vinculados al Institut für Sozialforschung, Walter Benjamin y Siegfried Kracauer son los más reconocidos en los debates sobre la fotografía y lo fotográfico en la cultura y el arte contemporáneo. Estas notas se proponen ampliar este aspecto de la teoría crítica a partir de la lectura de Theodor W. Adorno desde un punto de vista fotográfico.Abstract: In the debates about photography and the photographic in contemporary art and culture, Walter Benjamin and Siegfried Kracauer are the most recognized Institut für Sozialforschung-related thinkers. These notes aim at broadening this aspect of Critical Theory by reading the works of Theodor W. Adorno from a photographic standpoint.
42
Dahmen, Nicole Smith. "Behavior notwithstanding: Person perception and news photographs of the two leading candidates in the 2016 presidential election." Newspaper Research Journal 41, no. 2 (June 2020): 146–59. http://dx.doi.org/10.1177/0739532920919829.
Повний текст джерелаАнотація:
Applying person perception theory, this research uses quantitative content analysis to analyze 1,183 newspaper photographs of the two leading candidates from the 2016 presidential election. Study findings show that there were statistically significant differences in the photographic presentations of Hillary Clinton and Donald Trump in the 2016 election, with Clinton pictured more favorably than Trump.
43
Brevern, Jan von. "Resemblance After Photography." Representations 123, no. 1 (2013): 1–22. http://dx.doi.org/10.1525/rep.2013.123.1.1.
Повний текст джерелаАнотація:
Resemblance did not come naturally to photography. Soon after it became a public medium in 1839, photography’s ability to produce resemblant images—and therefore portraits—was widely challenged. Proponents of photography quickly responded to those challenges by developing more complex concepts of the new medium. This article argues that photography played an important part in evolving debates on resemblance. It also maintains that resemblance, far from being the “epistemological obstacle” it was deemed by theoreticians in the twentieth century, was exceptionally fertile for early photographic theory.
44
Gunawan, Agnes Paulina. "Peranan Warna dalam Karya Fotografi." Humaniora 3, no. 2 (October 31, 2012): 540. http://dx.doi.org/10.21512/humaniora.v3i2.3397.
Повний текст джерелаАнотація:
In the photographic development, the existence of color as part of the supporting aspect in the art of photography, is definitely influencing the final work of a photographer - whether it is a theory of color as lighting, or color as part of a pigment or chemical compound as part of physique from an object. Choosing a photo object based on colors can also create a meaning or theme in a composition of picture. This is the same when photo shoot is done with lighting that contends specific character or qualities of colors. For example, the use of color gel on the lights can create a condition that will be different when pictures are taken with white lights. Colors in photography can also give an expression or show an emotion visually that the photographer is trying to convey. With that said, a photographer who understands color concept can fix or anticipate any unwanted condition using a filter, for example, when lighting is contaminated with colors which changes the effect from the original color of an object. Therefore, with a thorough knowledge about colors, one can maximize the work just by making use of the available color aspect as part of the art work.
45
Attridge, John. "Detourism: Murray Bail’s Photographic Fiction." Journal of Commonwealth Literature 39, no. 3 (September 2004): 69–91. http://dx.doi.org/10.1177/0021989404047047.
Повний текст джерела
46
Oushakine, Serguei Alex. "Presence Without Identification: Vicarious Photography and Postcolonial Figuration in Belarus." October 164 (May 2018): 49–88. http://dx.doi.org/10.1162/octo_a_00323.
Повний текст джерелаАнотація:
This article explores photographic works produced by key members of the Minsk School of Photography before and after the collapse of the USSR in the 1980s and 1990s. Mostly reworking found images from the Soviet past, these artists employed the visual language of that period to disassociate themselves from Soviet practices of photographic recording. Appropriating conventions of the portrait genre, the Minsk photographers used them to create a stream of obfuscated representations in which individuals are presented devoid of their originary contexts, biographies, and, frequently, faces. Through their de-facing tactics, these photographers visualized forms of indirect postcolonial presence. Erasing subjectivity and abstracting imprints of lived experience, their vicarious photography articulates a model of dealing with history that allows presence without identity or identification.
47
Rowlands, D. Andrew. "Equivalence theory for cross-format photographic image quality comparisons." Optical Engineering 57, no. 11 (November 16, 2018): 1. http://dx.doi.org/10.1117/1.oe.57.11.110801.
Повний текст джерела
48
Reynolds, Q. G., and R. T. Jones. "Twin-electrode DC smelting furnaces—Theory and photographic testwork." Minerals Engineering 19, no. 3 (March 2006): 325–33. http://dx.doi.org/10.1016/j.mineng.2005.08.019.
Повний текст джерела
49
Buchloh, Benjamin H. D. "Ilse Bing: A Frankfurt School Photographer in Paris and New York." October 173 (September 2020): 176–206. http://dx.doi.org/10.1162/octo_a_00407.
Повний текст джерелаАнотація:
Ilse Bing was one of those Weimar photographers whose work was recognized or rediscovered later than that of many of her more famous female peers. Her photographic project sprang largely from her persistent subversion of the stylistic oppositions of New Vision photography and New Objectivity. Just as complex was the work she produced after moving to Paris, defined as it was by her cross-cutting of Weimar socialist and French Surrealist photographic mentalities. Comparable in her precise socio-political analysis to the Frankfurt School's critiques of emerging mass-cultural and political formations, Bing's work in the United States, where, barred from publishing in magazines, she was able to pay witness to photography's functioning as a new ideological- and cultural-industrial medium—acquired the melancholic features of a mordant critique of traditional photographic genres such as the portrait.
50
Zawojski, Piotr. "Fotografia i film w praktyce artystycznej oraz propozycjach teoretycznych Davida Hockneya." Artium Quaestiones 31, no. 1 (December 20, 2020): 101–22. http://dx.doi.org/10.14746/aq.2020.31.4.
Повний текст джерелаАнотація:
In his diverse works, David Hockney has used, and still uses, various media, which in some periods of his activity gained leading significance, while in the following they were abandoned or temporarily abandoned. But no matter what medium in the given period was the main form of creativity, the focus of his interest has always been the issue of image and imaging. The article is devoted to the practice and theoretical recognition of photography, which was a kind of introduction to experiments with a moving image. The author refers to the artist's numerous publications on the theory and history of image and imaging (including Secret Knowledge, History of Images, On Photography). Photography led to Hockney's audiovisual realizations. This is a kind of repetition of the natural evolution and developmental progression of the media, also, and perhaps above all, in the technological dimension. The article is divided into three parts. In the first part, the author presents Hockney as a practitioner and theoretician, in whose activities both these activities are closely intertwined. This is a sign of the times: practice and theory are equally important, awareness of the medium, or artistic and aesthetic self-awareness of artists, is an expression of the spirit of the era in which an intuitive approach to art today seems inefficient, not to say impossible. Hockney appears to be an exemplary artist, who is extremely conceptual in his artistic practice as a consequence of his research on the history of art and a constantly developed set of his own theoretical findings. He is an artist discursively commenting not only on his work as an artist in many media (painting, drawing, graphics, set design, photography, film, computer graphics), but also an art and media theoretician reflecting on the fate of images in a changing media landscape. The second part of the article is devoted to the reconstruction of Hockney's theoretical reflections on photography and the analysis of his photographic projects. First of all, experimental Polaroid compositions created in the early eighties, named by the artist joiners, as well as photographic collages and photographic images realized in the later periods of the British artist's work. The third part considers digital movies, as Hockney calls them, audiovisual realizations referring to both his previous photographic works and experimental video films in which multi-camera systems are used.