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Journal articles on the topic 'Career in documentary photography'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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1

Jernejšek, Jasna, and Martin Parr. "Photography Is the Only Art Form That We All Do: Interview with Martin Parr." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 24–29. http://dx.doi.org/10.47659/m5.024.int.

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Martin Parr (1952) is considered to be one of the most iconic and influential photographers of his generation. Parr, whom obtained a photography degree at Manchester Polytechnic (1970–1973), joined the classics of British documentary photography with a series of black and white photographs of the disappearing folk customs of Northern England. In the 80s he managed to make his breakthrough to the global photography scene (and market). At that time, impressed by American colour photography, he took on photographing on colour film himself. He made The Last Resort (1983–1985), a series of British

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2

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, no. 2 (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'

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3

Snyder, Robert E. "Margaret Bourke-White and the Communist Witch Hunt." Journal of American Studies 19, no. 1 (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

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4

Gasiorowski, Dominika. "Love in times of violence." Journal of Romance Studies: Volume 21, Issue 2 21, no. 2 (2021): 291–310. http://dx.doi.org/10.3828/jrs.2021.15.

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Maya Goded’s photography and filmmaking career has been tackling issues surrounding sex work in Mexico for more than two decades. Her first feature-length documentary, Plaza de la soledad (2016), set in Mexico City’s La Merced, probes issues of violence, resilience and love, with the main protagonists, who are ageing sex workers, negotiating their precarious positions between traumatic past events and uncertain futures. This paper examines Goded’s representation of prostitution as one designed to challenge dominant narratives about sex work in Mexico by shedding light on the private lives of w

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5

Tommasini, Alexandra. "A ‘patient’ aesthetic: Exploring the visual language of Italian urban landscape photographer Gabriele Basilico." Journal of European Studies 47, no. 4 (2017): 411–25. http://dx.doi.org/10.1177/0047244117733910.

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This article stakes a claim on the word ‘patient’, both its nominal and adjectival format, as a discursive tool to explore Italian photographer Gabriele Basilico’s visual language. The ‘patient’ metaphor is also employed to investigate the critical questions regarding the status of the documentary value of Basilico’s work. The discussion focuses on four exemplary photographs that span Basilico’s career and depict European and international cities in order to understand the slow unfolding of his aesthetic throughout his over 30-year career. It debates the extent to which Basilico’s visual langu

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6

Parejo, Nekane. "La fotógrafa Denise Bellon: surrealismo, documentalismo y fotografía humanista." Liño 23, no. 23 (2017): 139. http://dx.doi.org/10.17811/li.23.2017.139-146.

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RESUMEN:Entre 1920 y 1940 se desarrolla en Francia un movimiento fotográfico denominado Nouvelle Vision que acoge a un grupo de fotógrafas profesionales de este medio, entre ellas Denise Bellon. Las imágenes de esta autora, estrechamente vinculadas con los artistas de vanguardia, nos servirán para articular conexiones con aspectos relacionados con tres corrientes fotográficas patentes en su trayectoria: el surrealismo, la fotografía humanista y el documentalismo. Para lograr este propósito nos aproximaremos, por un lado, a los rasgos específicos de cada una de estas tendencias fotográficas y p

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7

Leite, Amanda Mauricio Pereira. "FOTOS INCRÍVEIS: anedotas que ganharam o mundo." Revista Observatório 4, no. 1 (2018): 200. http://dx.doi.org/10.20873/uft.2447-4266.2018v4n1p200.

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Fotografias premiadas se consagraram na história da humanidade por capturar fatos incríveis de uma determinada época. Nomes como: Herald Tribune, Ruth Orkin, Robert Doisneau, Kevin Carter e outros exibiram fotografias que durante anos se sustentaram como uma espécie de narrativa documental produzindo no mundo um efeito de verdade. Fotografias que ao serem revistadas anunciam outras narrativas, novas miradas, leituras, escrita, cultivo de pensamentos. E se a fotografia for deslocada da representação do real para cogitar sobre si novos percursos e sentidos? Dois movimentos animam esta reflexão:

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8

Blanchard, George, Louis Quail, Grace Yang, et al. "Reflections on a person's experience of mental illness: an innovative teaching pilot for second-year medical students." BJPsych Open 7, S1 (2021): S8—S9. http://dx.doi.org/10.1192/bjo.2021.82.

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AimsWe sought to develop a teaching pilot to help year 2 medical students meet the following learning outcomes: Develop a better understanding of patient and carer experiences of mental illness; Recognise and challenge unhelpful attitudes towards people with mental illness; Promote a broader understanding of cultural issues surrounding mental illness, including stigma and discrimination.Method337 medical students were invited to attend a lecture by author LQ, a documentary photographer who presented a narrative of his brother Justin's lived experience of schizophrenia (louisquail.com/big-broth

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9

Langendorf, Richard. "Documentary photography." Computers, Environment and Urban Systems 15, no. 1-2 (1991): 74. http://dx.doi.org/10.1016/0198-9715(91)90058-l.

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10

Kuo, Li-Hsin. "Politicising Documentary Photography." Javnost - The Public 14, no. 3 (2007): 49–64. http://dx.doi.org/10.1080/13183222.2007.11008946.

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11

Mitropoulos, Maria. "Demonic Curiosity and Documentary Photography." Alethia 5, no. 1 (2002): 65–69. http://dx.doi.org/10.1558/aleth.v5i1.65.

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12

Biarincová, Patricia. "Documentary photography in art education." Prace Naukowe Akademii im. Jana Długosza w Częstochowie. Edukacja Plastyczna. Fotografia 10 (2015): 87–98. http://dx.doi.org/10.16926/ep.2015.10.06.

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13

Hunt, William Blaine. "Documentary photography and applied anthropology." Visual Anthropology 10, no. 1 (1997): 67–73. http://dx.doi.org/10.1080/08949468.1997.9966720.

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14

Young, Stephanie L. "Social Documentary Photography: An Appreciation." Review of Communication 8, no. 3 (2008): 254–56. http://dx.doi.org/10.1080/15358590701851657.

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15

Zhou, Dengyan. "REFRAMING DOCUMENTARY PHOTOGRAPHY IN CHINA." photographies 11, no. 2-3 (2018): 339–52. http://dx.doi.org/10.1080/17540763.2018.1445012.

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16

Brown, Elspeth H. "Welfare Capitalism and Documentary Photography:." History of Photography 32, no. 2 (2008): 137–51. http://dx.doi.org/10.1080/03087290801895738.

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17

Kim, Gyewon. "Reframing ‘Hokkaido Photography’: Style, Politics, and Documentary Photography in 1960s Japan." History of Photography 39, no. 4 (2015): 348–65. http://dx.doi.org/10.1080/03087298.2015.1112532.

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18

Foote, Kenneth E. "DOCUMENTARY PHOTOGRAPHY AND QUESTIONS OF URBAN CHANGE." Urban Geography 7, no. 5 (1986): 462–68. http://dx.doi.org/10.2747/0272-3638.7.5.462.

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19

김민정 and Joonsung Yoon. "Sebastião Salgado's Iconography and Documentary Photography Humanism." Korean Journal of Art and Media 14, no. 3 (2015): 77–102. http://dx.doi.org/10.36726/cammp.2015.14.3.77.

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20

Ciputra, Alfian Rizal Andre, Pitri Ermawati, and Syaifudin Syaifudin. "Pecinan Tambak Bayan Surabaya Dalam Fotografi Dokumenter." spectā: Journal of Photography, Arts, and Media 3, no. 1 (2019): 50–60. http://dx.doi.org/10.24821/specta.v3i1.2837.

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Documentary Photography of Chinatown in Tambak Bayan Surabaya. Chinese etchnic of Surabaya has been living in the settlement, called Tambak Bayan Surabaya, around Kalimas River. Most of the families living there are the third and fourth generation of the Chinese ethnic whom migrated to Surabaya several years ago. Those families occupied the buildings formerly were horse stables during colonial period. Their economic condition was classified as middle to lower class. Hence, they did not have other choices but those settlements. Documentary photography is a way to describe their everyday conditi

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21

De Diego, Estrella. "Three Women in a Garden. Alice Austen’s Pictures and the Paradox of Documentary Photography." Anales de Historia del Arte 28 (September 25, 2018): 147–62. http://dx.doi.org/10.5209/anha.61609.

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That so very difficult question about “truth”, frequently posed in relation to both autobiographical artefacts and documentary photography, is no doubt the key query concerning Alice Austen’s whole oeuvre. Taking that question as a starting point for discussion, this article explores Austen’s autobiographical and documentary work as part of the same strategy, since Austen’s autobiographical photography “documents” the life of New Women and the class that she belonged to. But if her autobiographic production is documentary, why not consider her documentary work autobiographical? The article wor

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22

Hodson, Dermot. "The Politics of Documentary Photography: Three Theoretical Perspectives." Government and Opposition 56, no. 1 (2019): 20–38. http://dx.doi.org/10.1017/gov.2019.3.

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AbstractPhotographers are often inspired by politics but can they influence it? Drawing on the study of public policy and the history of photography, this article considers three ways in which documentary photographers enter the policy process. It considers the photographer as: a bureaucrat working within government networks to achieve individual and institutional aims; an advocate working with like-minded actors to advance shared political beliefs; an expert working within an epistemic community driven by a shared policy enterprise. These roles highlight the institutional channels through whi

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23

Hazan, Noa. "The Racialisation of Jews in Israeli Documentary Photography." Journal of Intercultural Studies 31, no. 2 (2010): 161–82. http://dx.doi.org/10.1080/07256860903579079.

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24

Bergstein, Mary. "Lonely Aphrodites: On the Documentary Photography of Sculpture." Art Bulletin 74, no. 3 (1992): 475. http://dx.doi.org/10.2307/3045895.

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25

Vasudevan, Ravi S., Rosie Thomas, S. V. Srinivas, Lotte Hoek, and Debashree Mukherjee. "The Documentary Archive in Photography, Film, and Video." BioScope: South Asian Screen Studies 8, no. 1 (2017): vii—xiv. http://dx.doi.org/10.1177/0974927617705931.

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26

Friday, J. "Demonic curiosity and the aesthetics of documentary photography." British Journal of Aesthetics 40, no. 3 (2000): 356–75. http://dx.doi.org/10.1093/bjaesthetics/40.3.356.

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27

Blumenkrantz, David. "Street Photography: A Bridge Between Documentary and Art." Visual Communication Quarterly 16, no. 2 (2009): 108–16. http://dx.doi.org/10.1080/15551390902803846.

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28

Selejan, Ileana L. "Pictures in Dispute: Documentary photography in Sandinista Nicaragua." photographies 10, no. 3 (2017): 283–302. http://dx.doi.org/10.1080/17540763.2017.1342973.

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29

Alves de Oliveira, Andreia, and Steve Edwards. "We Need More Documentary, and We Need More than Documentary: Interview with Art Historian Steve Edwards." Cabinet, Vol. 2, no. 2 (2017): 32–39. http://dx.doi.org/10.47659/m3.032.int.

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Steve Edwards teaches history and theory of photography and is a fiery, self-described “radical from a working-class background”, “post-Trotskyist” and “socialist feminist”, who reads “Marx and more Marx”. We met in 2016 in Lisbon at an academic conference on Photography and the Left, where he was one of the keynote speakers. Edwards’ paper tracked the changes in relation to the Left and the documentary movement in Britain from the 1970s to the present day, his argument consisting in that documentary and social class are closely entwined. This interview, done at Birkbeck, University of London,

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30

Park, Eunha, and Joonsung Yoon. "A Study on Non-human Documentary as New Documentary - Based on Photography and Film." CONTENTS PLUS 14, no. 3 (2016): 79–92. http://dx.doi.org/10.14728/kcp.2016.14.03.079.

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31

Zakharova, Oleksandra. ""PHOTOTELLING" AS THE INNOVATION OF PHOTOJOURNAL "6 MOIS" BY CONNECTING PRESS AND BOOK MARKETS." Bulletin of Taras Shevchenko National University of Kyiv. Sociology 8 (2017): 29–33. http://dx.doi.org/10.17721/2413-7979/8.5.

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he author analyses the French journal «6 MOIS», which was created in Paris in 2011, from the point of view of visual sociology. The notions of documentary photography (350 pages of journalistic photography) that represent social life in the 21st century are investigated. The goal of this article is to demonstrate that the journal is a unique and significant source for social science. The research connects the views of the editorial team with photographers from around the world by analysing and comparing interviews conducted in collaboration with the editorial team and photographers from China,

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32

Seja, Nina. "Life beyond the Still Zone: Documentary Photography after Chernobyl." Afterimage 40, no. 3 (2012): 12–15. http://dx.doi.org/10.1525/aft.2012.40.3.12.

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33

Brückle, Wolfgang. "On documentary style: ‘anti-graphic photography’ between the Wars." History of Photography 30, no. 1 (2006): 68–79. http://dx.doi.org/10.1080/03087298.2006.10442840.

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34

Hill, Jason E. "Engaged Observers: Documentary Photography Since the Sixties: Brett Abbott." Photography and Culture 4, no. 3 (2011): 371–75. http://dx.doi.org/10.2752/175145211x13068409557087.

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35

Pälviranta, Harri. "Encountering Violence-Related Documentary Photography in a Gallery Context." Photographies 6, no. 1 (2013): 127–35. http://dx.doi.org/10.1080/17540763.2013.788844.

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36

Saran, Weronika. "Then, Now, and Later: The Transition of Documentary Photography." Zeszyty Prasoznawcze 64, no. 2 (246) (2021): 119–22. http://dx.doi.org/10.4467/22996362pz.21.014.13479.

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37

Purwaningsih, Rindha Mita, Pamungkas Wahyu Setiyanto, and Oscar Samaratungga. "EKSOTIKA SUKU MENTAWAI DALAM FOTOGRAFI DOKUMENTER." spectā: Journal of Photography, Arts, and Media 2, no. 2 (2019): 91–104. http://dx.doi.org/10.24821/specta.v2i2.2550.

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AbstrakObjek penciptaan karya fotografi membahas eksotika kegiatan sehari-hari suku pedalaman Mentawai, Siberut Selatan. Penciptaan karya didasari oleh minimya informasi tentang keseharian masyarakat pedalaman dusun Buttui dan diciptakan karya ini, diharapkan mampu memberi gambaran dan informasi tentang kehidupan para suku pedalaman di Mentawai melalui fotografi dokumenter. Penciptaan karya fotografi ini berorientasi dengan eksotika kegiatan sehari-hari suku Mentawai sebagai dasar acuan proses penciptaan dengan metode observasi,eksplorasi, pemotretan. Karya foto dibuat dalam fotografi dokument

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38

Hollman, Verónica. "PENSAR BRASIL CON Y ENTRE IMÁGENES." Espaço e Cultura, no. 38 (December 6, 2015): 277–83. http://dx.doi.org/10.12957/espacoecultura.2015.29080.

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39

Johnson, James. "‘The Arithmetic of Compassion’: Rethinking the Politics of Photography." British Journal of Political Science 41, no. 3 (2011): 621–43. http://dx.doi.org/10.1017/s0007123410000487.

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Compassion, theorists from Arendt to Nussbaum suggest, carries an ineluctable pressure to identify with individual suffering. The very idea of a politics of compassion verges on incoherence. Politics typically demands attention to the aggregate and it is just there that compassion falters. This is a problem for critics addressing the politics of photography, who typically presume that the point of photographs must be to elicit compassion among viewers. But a proper understanding of compassion makes this presumption highly problematic. The role of compassion in exemplary writings on the politic

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40

Grosvenor, Ian, and Natasha Macnab. "Photography as an agent of transformation: education, community and documentary photography in post-war Britain." Paedagogica Historica 51, no. 1-2 (2015): 117–35. http://dx.doi.org/10.1080/00309230.2014.997757.

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41

MacDougall, David. "Humanities Research Centre Documentary Film Festival/Film and Photography Conference." Visual Anthropology Review 5, no. 2 (2010): 27–30. http://dx.doi.org/10.1525/var.1989.5.2.27.

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42

McDonald, Joseph P. "Teaching the Documentary Arts: Combining Writing with Research and Photography." English Journal 74, no. 7 (1985): 56. http://dx.doi.org/10.2307/817600.

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43

이헬렌. "Binding Perceptions: Images of Korea in Japanese Colonial Documentary Photography." Review of Korean Studies 22, no. 1 (2019): 233–58. http://dx.doi.org/10.25024/review.2019.22.1.008.

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44

Sanders, Katrina M., and Alan Wieder. "Race and Education: Narrative Essays, Oral Histories, and Documentary Photography." History of Education Quarterly 38, no. 2 (1998): 194. http://dx.doi.org/10.2307/369988.

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45

Joo, Hyoung-Il. "Documentary Photography in the Digital Age : from Representation to Performance." Journal of Aesthetics & Science of Art 57 (June 30, 2019): 183–214. http://dx.doi.org/10.17527/jasa.57.0.07.

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46

Burns, Karen. "Topographies of Tourism: "Documentary" Photography and "The Stones of Venice"." Assemblage, no. 32 (April 1997): 22. http://dx.doi.org/10.2307/3171405.

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47

Liu, Mia Yinxing. "The Surrealist and the Documentary in Chang Chao-tang’s Photography." Art in Translation 11, no. 1 (2019): 75–96. http://dx.doi.org/10.1080/17561310.2019.1582931.

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48

Sawyer, Drew. "The Realisms of Berenice Abbott: Documentary Photography and Political Action." History of Photography 36, no. 4 (2012): 458–60. http://dx.doi.org/10.1080/03087298.2012.712264.

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49

Howells, Richard. "Self Portrait: The Sense of Self in British Documentary Photography." National Identities 4, no. 2 (2002): 101–18. http://dx.doi.org/10.1080/14608940220143808.

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50

Suchar, Charles S. "The sociological imagination and documentary still photography: The interrogatory stance." Visual Sociology 4, no. 2 (1989): 51–62. http://dx.doi.org/10.1080/14725868908583637.

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