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Journal articles on the topic 'Collectible photography'

Author: Grafiati

Published: 7 June 2025

Last updated: 16 July 2025

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1

Padmanabhan, Lakshmi. "A Feminist Still." Camera Obscura: Feminism, Culture, and Media Studies 35, no. 3 (2020): iv—29. http://dx.doi.org/10.1215/02705346-8631535.

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What can photographic form teach us about feminist historiography? Through close readings of photographs by visual artist and documentary photographer Sheba Chhachhi, who documented the struggle for women’s rights in India from the 1980s onward, this article outlines the political stakes of documentary photography’s formal conventions. First, it analyzes candid snapshots of recent protests for women’s rights in India, focusing on an iconic photograph by Chhachhi of Satyarani Chadha, a community organizer and women’s rights activist, at a rally in New Delhi in 1980. It attends to the way in whi

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Moynihan, Karen E. "A Collectibles Project: Engaging Students in Authentic Multimodal Research and Writing." English Journal 97, no. 1 (2007): 69–76. http://dx.doi.org/10.58680/ej20076225.

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High school teacher Karen E. Moynihan creates a multimodal project inspired by the creative nonfiction style of The Orchid Thief by Susan Orlean. Students choose a collectible item and immerse themselves in the subculture of the collectors. The project includes participation in library and field research, interviews, photography and graphic design, process journals, peer editing and drafting of a final story with integrated research, and PowerPoint presentations.

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Carville, Justin. "‘This postcard album will tell my name, when I am quite forgotten’: Cultural Memory and First World War Soldier Photograph Albums." Modernist Cultures 13, no. 3 (2018): 417–44. http://dx.doi.org/10.3366/mod.2018.0220.

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Since the Crimean and American Civil Wars in the nineteenth century, photography has allowed societies to experience war through the collective understanding of photographic representation as an inscription or mnemonic cue for recollections of past events. However, the First World War ushered in new vernacular cultural practices of photography which radically altered how both war was represented and experienced through photography. This shift, in turn, engendered new private and domestic forms of post-war remembrance through the photographic image. Kodak's marketing of the Vest Pocket Autograp

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Pabedinskas, Tomas. "Personal Photo Album and Collective Memory: The Case of Romualdas Požerskis’ Photographs and Diary." Art History & Criticism 16, no. 1 (2020): 115–24. http://dx.doi.org/10.2478/mik-2020-0008.

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SummaryHistory and memory have been the conceptual core of many Lithuanian photography based contemporary art works as well as international curatorial art projects, including authors from different Baltic countries. On the one hand, this indicates the relevance of the subject related to photography and memory; on the other hand, it also shows the overexploitation of personal and historical memory in contemporary photography and in contemporary art in general.In this context the article analyses Romualdas Požerskis’ personal album photographs from the years 1971–1975 and his written diaries fr

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Jarmołowicz-Dziekońska, Małgorzata. "Exilic representation and the (dis)embodied self: memory and photography in Yoshiko Uchida’s , autobiography Desert Exile: The Uprooting of a Japanese-American Family." Idea. Studia nad strukturą i rozwojem pojęć filozoficznych 31 (2019): 148–71. http://dx.doi.org/10.15290/idea.2019.31.09.

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Photography and memory seem to be inextricably bound up with each other, as photographs can invoke memories which help to excavate past moments with vivid details. Yoshiko Uchida in her autobiography, Desert Exile: The Uprooting of a Japanese-American Family (1982), delves into her past experiences through the lens of counter-memory, i.e. the memory of the minor and the subjugated. The Japanese-American author strives to recover the past by means of photographic images which—blended into written reminiscences— uncover yet another plane of articulation. Individual memory has enabled the author

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Susi, Benedetta, and Chiara Pompa. "The Situated Gaze of Marina Guerra: From Noi Donne to Noi, altre." Journal of Asia-Pacific Pop Culture 9, no. 2 (2024): 329–54. https://doi.org/10.5325/jasiapacipopcult.9.2.0329.

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Abstract The production of Marina Guerra, a female photographer, is an exciting case study reflecting the beginning of changes in women’s roles since the 1970s. Situating her work within the context of the left-wing press, where Guerra was a notable contributor, underscores the increasing influence of women’s voices and feminist contributions. This study examines the 1977 photobook Noi, altre. Immagini e storie di donne (We, others: Images and stories of women), which, despite being neglected by critics, fits well into the Italian photobook tradition and the women’s photographic landscape of t

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Currie-Williams, Kelann. "Makers and Keepers: Two Lives, through Photographs." Canadian Journal of History 56, no. 3 (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 he

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Lysenko, Lesia. "Photographic narrative as a factor in overcoming witness trauma." Communications and Communicative Technologies, no. 24 (March 27, 2024): 15–21. http://dx.doi.org/10.15421/292402.

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The research aims to explore the multifunctional potential of photography in overcoming the traumatic experience of witnessing violence and brutality. The paper presents how photography can be used in rehabilitation practices for those who have lived through war. It outlines the tendencies of the modern digital information environment (cross-media, interactivity) that enhance the "restorative" functions of photography in overcoming psycho-emotional and socio-cultural crisis reactions. It has been found that photography’s narrative nature can enhance the viewer’s experience of interacting

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Ruchel-Stockmans, Katarzyna. "Community-Based Photographic Archives and “Potential” Histories of the Cold War in Eastern Europe." Život umjetnosti, no. 111 (July 2023): 48–61. http://dx.doi.org/10.31664/zu.2022.111.04.

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The article proposes to look at the recently emerged online photographic archives in Eastern Europe as a form of digital commons. The bulk of the collected photographs in these archives are vernacular, family or amateur photographs, the sort which obstinately resists being included in the histories of photography. The online archives under scrutiny here, Fortepan in Hungary and Karta/CAS in Poland, disregard the established divisions between the photographic genres, allowing the reconfiguring of the hierarchies and values perpetuated by other archives and museum collections. Most significantly

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Rajendran, Punnya. "Forms of technostalgia: Understanding cultures of the obsolete." Studies in South Asian Film & Media 15, no. 1 (2023): 57–69. http://dx.doi.org/10.1386/safm_00070_1.

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The term ‘technostalgia’ refers to a range of admittedly quirky and often collectible devices that frequently hit the market, promising customers the experience of past technology in the present. Using this marketing trend as a starting point, this article attempts to trace ‘other’ technostalgias in their plurality elsewhere in order to plump the philosophical dimensions of the concept. Upon unpacking the underlying structure of technostalgia (in terms of subject–object relations, as social practice, etc.), we may relocate the technological subject within the global–local horizon and rethink t

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Hamann, Christoph. "Indeks, ikona i symbol. O stosunku fotografii, historii (czasu) i pamięci." Kultura i Społeczeństwo 55, no. 4 (2011): 107–27. http://dx.doi.org/10.35757/kis.2011.55.4.6.

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The Author starts with a thesis that photography and modern historiography developed at the same time, and then tries to look for relationships between the two. He starts from analyzing a specificity of a photograph which — as a medium — not only represents the past, but can be an energizing impulse both in the presence and the future. By referring to the semiotic classification of Charles Sanders Peirce, the Author describes the importance of a photograph to historical research as an index, an icon and a symbol. This helps understand the way of using a collective resource of photographs and t

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Duarte do Pateo, Rogerio. "Imagem e arqueologia na era da pós-fotografia." Vestígios - Revista Latino-Americana de Arqueologia Histórica 18, no. 2 (2024): 131–50. https://doi.org/10.31239/vtg.v18i2.49580.

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“No one can leave the cave”. With this phrase, Joan Fontcuberta targets the heart of the ontology of the photographic image and exposes the fictional nature of “documentary” representations of reality. The consolidation of photography as a document, a consequence of techno-scientific culture associated in the 19th century with positivism and colonial expansion, concealed its Janus Bifrons nature for nearly a century. More than “representations”, photographs are taken as substitutes for the things photographed, and this status, associated with the idea of truth, makes them the ideal visual expr

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John, Donna. "Beyond Polaroid: Visual Rhetoric in Shaping Refugee’s Identity." SMART MOVES JOURNAL IJELLH 9, no. 5 (2021): 221–28. http://dx.doi.org/10.24113/ijellh.v9i5.11061.

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Photographs tend to have an ability to influence the collective consciousness of humanity. Sonja K. Foss, a rhetorical educator, opines that language is general while images are concrete and specific. Many a time, photographs have become spokespersons of the suffering and needy lot. Throughout its history, photography has created opinions, constructed realities of people and brought human tragedies to the forefront. The refugee crisis is in no way an exception. In fact, the conscience of the whole world in regard to the refugees was awakened by an appalling photograph of a three-year-old Syria

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Кобжанова, Светлана, та Диляра Шарипова. "Трансмедиальные связи в визуальной культуре: фотография в живописи и проектах современного искусства Казахстана". Saryn 12, № 4 (2024): 62–80. https://doi.org/10.59850/saryn.4.12.2024.203.

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In the present day, archival photography of Kazakhstan from the 19th to the early 20th century attracts keen attention from experts and the general public. The history of the interaction between painting and photography, as well as the latter’s use in creating visual art masterpieces of Kazakhstan, have become significant issues in contemporary domestic art studies.The aim of this article is to comprehend photography as a resource for mythological connotations and the actualization of cultural memory during the formative years of the painting school of Kazakhstan and in the artistic practices

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Tousignant, Zoë. "Le projet Disraeli : idéaux et limites de la collaboration en photographie." RACAR : Revue d'art canadienne 49, no. 1 (2024): 94–115. https://doi.org/10.7202/1114512ar.

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This article revisits the Disraeli project, a collective documentary portrait of the rural town of Disraeli, Quebec, undertaken in 1972 by photographers Claire Beaugrand-Champagne, Michel Campeau, Roger Charbonneau and Cedric Pearson, and researchers Ginette Laurin and Maryse Pellerin. Immediately following its initial dissemination, the project—now considered a pivotal event in the history of photography in Quebec—sparked a veritable media storm, the first to be centered on the ethics of photographic representation. The article reconsiders the emergence, realization, and reception of this col

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Kotamanidou, Nina. "BALANCE OF PRIVATE IMAGE AND MEMORY." Design/Arts/Culture 3, no. 1 (2023): 43–56. http://dx.doi.org/10.12681/dac.31499.

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The invention of photography was followed by its extensive usage as visual documentation of any possible scene, by nature, human, object or event. The watchful eye of the camera was hailed as an impassive observer of facts, a witness that tells no lies entrusted with the preservation of public and personal histories. Under these assumptions it was connected with the crystallization of collective memory as well as the wide initiation of private archiving in the form of the family album, especially when easy-to-use camera technology became commercially affordable. In this short essay, accepting

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Riggs, Christina. "Shouldering the past: Photography, archaeology, and collective effort at the tomb of Tutankhamun." History of Science 55, no. 3 (2016): 336–63. http://dx.doi.org/10.1177/0073275316676282.

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Photographing archaeological labor was routine on Egyptian and other Middle Eastern sites during the colonial period and interwar years. Yet why and how such photographs were taken is rarely discussed in literature concerned with the history of archaeology, which tends to take photography as given if it considers it at all. This paper uses photographs from the first two seasons of work at the tomb of Tutankhamun (1922–4) to show that photography contributed to discursive strategies that positioned archaeology as a scientific practice – both in the public presentation of well-known sites and in

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Aleksey, Glushaev. "Catch a Sight of "Church": Amateur Photographs as a Window into the Life of Evangelical Christians of the USSR." TECHNOLOGOS, no. 1 (2021): 66–75. http://dx.doi.org/10.15593/perm.kipf/2021.1.06.

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It is known that the documents from the State archives concerning the history of religious life in the USSR had the primary importance and they are remained the same. However, a significant part of historical documents are kept by believers. Film and photo documents are of particular interest. The “visual turn” in the historiography of the beginning of 2000s opened up new opportunities for studying film sources and photographic documents. The attention of historians has focused on the symbolic and linguistic systems of transmission of film and photographic messages, on the visualization of eth

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Colner, Miha. "Human Figure as an Object: Vanja Bučan, photographer." Instinct, Vol. 4, no. 1 (2019): 28–32. http://dx.doi.org/10.47659/m6.028.rev.

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The article analyzes the artistic process of the Berlin-based photographer Vanja Bučan, who always manages to maintain at least some recognizable expression despite her varied approaches. Her works are visually rich, carrying complex meanings and associations. She chooses not to directly reflect the collective and the individual everyday life but depicts universal existentialist motifs where the social perspective is usually shown through metaphors and allegories. The centerpiece of her work is the relationship between culture and nature and between humans and their environment, as well as the

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Yurgeneva, Alexandra L. "Monuments on city photos. Interaction and confrontation between the past and the present." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 62 (2021): 9–22. http://dx.doi.org/10.37816/2073-9567-2021-62-9-22.

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The paper explores the photos that capture monuments and memorials. A topical issue is the collision of various cultural and temporal layers in the image, as well as the interaction of personal and collective memory, arising as a result of imprinting a person and a monument on a photograph. The aim of the study was to create a typology formulated on the basis of the functions of photographs and their aesthetic characteristics. Each of the types was considered from the point of view of its significance in the culture of memory and in relation to other commemorative practices. Special attention

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Iakovleva, Tatiana A. "VISUALIZATION OF MEMORY IN PROJECTS OF URAL PHOTOGRAPHERS A. BOGOMOLOVA AND S. POTERYAEV." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 43 (2021): 179–96. http://dx.doi.org/10.17223/22220836/43/14.

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The article is devoted to the problem of memory visualization in the language of photography. Photography is presented as a sign system and a communicative tool of culture, as one of its mnemonic and memorial techniques. An image archive is created through a photo. It becomes a refuge of memory and material for the reconstruction and reinterpretation of memory. The author explores the nostalgic, retrospective genre of photography. The appearance of this genre demonstrates an increase in the demand of culture, society and personality for memory, to assert themselves in the present through a sea

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Hill, Sarah Patricia. "Double exposures: the photographic afterlives of Pasolini and Moro." Modern Italy 21, no. 4 (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

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Akcan, Esra. "Translations in Architecture." International Journal of Middle East Studies 45, no. 3 (2013): 578–80. http://dx.doi.org/10.1017/s0020743813000524.

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In a recently discovered photograph of German architect Bruno Taut's retrospective exhibition at the Istanbul Academy of Fine Arts, which opened on 4 June 1938, Taut in-exile stands with Erica Taut and his assistant Şinasi Lugal in front of a display (see Figure 1). What interests me in this image is not so much the frontal figures who posed for it as the documentary value of the exhibit in the background, the photographs inside the photograph. These images display Taut's Siedlungen (residential settlements/collective housing projects), designed and constructed as part of the Berlin Housing Pr

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Brenneis, Sara J. "El fotógrafo de Mauthausen/The Photographer of Mauthausen (Targarona 2018): Francesc Boix’s legacy from page to screen." Studies in Spanish & Latin American Cinemas 19, no. 2 (2022): 151–67. http://dx.doi.org/10.1386/slac_00079_1.

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El fotógrafo de Mauthausen/The Photographer of Mauthausen () is the first feature film on Spaniards deported to Nazi concentration camps during the Second World War and represents a watershed moment for the country’s collective memory. The film focuses on Francesc Boix, a young Catalan photojournalist who spearheaded a clandestine operation to save photographic evidence of the Nazi’s crimes while a prisoner in Mauthausen. Despite its visual acuity, Targarona’s entry is a complicated addition to the canon of recent concentration camp films, given the director’s positioning of Boix as a macho he

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Hayes, Patricia. "SEEING AND BEING SEEN: POLITICS, ART AND THE EVERYDAY IN OMAR BADSHA'S DURBAN PHOTOGRAPHY, 1960s–1980s." Africa 81, no. 4 (2011): 544–66. http://dx.doi.org/10.1017/s0001972011000593.

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ABSTRACTThere is an assumption that the photographic iconography of the South African struggle against apartheid is universally known and familiar. It is however dominated by certain tropes and categories that obscure the many complexities and nuances of its origins, its practitioners and its effects. This article focuses on one photographer, Omar Badsha, and explores his own narrations about city and family life in the Indian Ocean port city of Durban, and the artistic and political trajectories in which he was embedded that gave rise to his own photographic work and the organization of other

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Little, Blake. "Fluid." Public 31, no. 62 (2020): 109–51. http://dx.doi.org/10.1386/public_00041_1.

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Stories of expressions of trans, gender fluid, non-binary, Two Spirit, and other diverse gender identities circulate widely, adding to a complex and oft-times challenging web of shifting societal responses to gender. My photographic eye is guided by an aesthetic of simplicity, distillation & clarity. I want to apply this eye to make visible the many ways we read photographs and their subject matter (imagined and real) but particularly via a collaborative process as filtered through the voices of the people who posed for these photographs. Transgender identification, representation and imag

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París Romia, Gemma. "Arte como Simulacro de una Realidad Lejana en la Obra de Gerhard Richter." Barcelona Investigación Arte Creación 8, no. 2 (2020): 101. http://dx.doi.org/10.17583/brac.2020.3580.

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This paper investigates the links that the artist Gerhard Richter establishes between photography and painting throughout his artistic career, initiated on 60ths. Since then, Richter's goal has been to build images, whether pictorial or photographic, whether blurry or sharp, geometric, abstract or figurative. The world that Richter paints is made up of banal situations, by anonymous people, by familiar landscapes, and that makes us feel comfortable as spectators, because it seems that Richter is creating a file of known places, moments with which we can connect from our subjectivity. Most part

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Cubitt, Seán. "Love in the Time of Computation." Media Theory 8, no. 1 (2024): 319–38. http://dx.doi.org/10.70064/mt.v8i1.1079.

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In a brief note on ‘Photography’ published in 1978, American documentary photographer Walker Evans offered principles for his practice. Close analysis suggests that the heart of his concerns lay in the photographers’ love for their subjects based in an unexpressed but significant ecological orientation. This analysis leads towards a critical reconsideration of the concept of ‘mass image’, a term developed to describe the production and management of a collective database of imagery uploaded to social media platforms. The article criticises the idea that this mass image is single and unified. D

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Stakle, Alnis. "Domesticated Simulacra: The Dialectics of Power in Family Photographic Archives." European Journal Of Media, Art & Photography 13, no. 1 (2025): 84–91. https://doi.org/10.34135/ejmap-25-01-04.

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This article investigates the power dynamics present in family photographic archives from the Soviet Union, spanning from World War I to Stalin’s death in 1953. An analysis of discovered family photographs, alongside additional artistic interventions, assesses how family photography serves as a multifaceted tool of ideological power, manifested through what appear to be impartial acts of domestic documentation. The study presents the concept of “domesticated simulacra” to clarify how family photographs gain authenticity through their role in home rituals while concealing collective trauma. By

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Van de Casteele, Marlène. "Collaboration, competition and conflict: The collective labour of fashion photography at US Vogue (1940‐42)." International Journal of Fashion Studies 8, no. 2 (2021): 195–211. http://dx.doi.org/10.1386/infs_00050_1.

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While the figure of the fashion photographer has been widely discussed, little has been written on image-making as a collective endeavour. Fashion photography indeed results from technical innovations, publishing strategies, editorial policies, behind-the-scenes negotiations and, ultimately, decision-making. This article analyses ‘The Condé Nast Papers’ ‐ a series of internal documents held at the Condé Nast archives in New York ‐ together with US Vogue and Harper’s Bazaar’s editorials and covers to explore how fashion photographs resulted from the collective labour of photographers, editors,

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Umbach, Maiken. "Selfhood, Place, and Ideology in German Photo Albums, 1933–1945." Central European History 48, no. 3 (2015): 335–65. http://dx.doi.org/10.1017/s0008938915000783.

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AbstractThis article explores the significance of photography and photo-album making as practices that many Germans used to record their lives during the Third Reich. Millions of photos not only offer insights into everyday life under National Socialism: mass photography itself had a transformative effect, turning seemingly mundane actions into performances for the camera and into conscious acts of self-representation. The article also considers the relationship between amateur snapshots, on the one hand, and propagandistic and commercial photographs, on the other. Identifying connections betw

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Meshcherkina (Rozhdestvenskaya), Elena. "Re-Photography as Documentation and Understanding of the “Dirty War” in Argentina: G. Germano’s Photo Project “Absence”." Inter 17, no. 1 (2025): 108–25. https://doi.org/10.19181/inter.2025.17.1.6.

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The article considers a special form of photographic practice that may be in demand in sociology — repeated photography or re-photography. This is an act of repeating a photograph of the same place/character/practice, with a time lag between the two images, a look at a certain object “then and now”. The possibilities of re-photography were primarily used by researchers of the urban environment, demonstrating vivid variability. In the social sciences, the secondary use of visual documents can serve the purposes of education, policy, practice and advocacy. The format of re-photography can be heu

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Likhacheva, Alexandra S. "Landscapes of Galicia as Viewed through the Camera: Visualization of Belligerent Spaces of the First World War." Izvestia of the Ural federal university. Series 2. Humanities and Arts 26, no. 1 (2024): 36–57. http://dx.doi.org/10.15826/izv2.2024.26.1.003.

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This article analyses practices of capturing the experience of the First World War on the Eastern Front and the construction of militarized life worlds by combatants of the Russian Army and photojournalists. The author aims to determine the significance of the belligerent landscapes of Galicia in the formation of participants’ specific behavioural strategies and practices in the first industrial war. Methodologically, the author relies on the synthesis of approaches of spatial research and visual anthropology, conceptual provisions of landscape studies, and cultural geography. To analyse the p

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Dziub, Nikol. "Narcisse et la photographie. De l’objectivation à l’objectivité." Quêtes littéraires, no. 5 (December 30, 2015): 45–54. http://dx.doi.org/10.31743/ql.237.

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Baudelaire blamed the bourgeois society and its photographic narcissism which leads to a perversion of the mythical posture and to a loss of consciousness of the ontological dissimilarity between reality and its image. That is why literature has to develop the imagination of the photographic image, which is both useful and magical, both referential and wondrous. Writers of the romantic era may disdain or admire photography, but they all experience the photographic objectivity and thus develop an antidote to the vain objectification of the collective Narcissus.

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Rodriguez, Matthew Elbert. "The Morning After and the Mourning to Come." Romanic Review 115, no. 3 (2024): 595–619. https://doi.org/10.1215/00358118-11534668.

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Abstract This article reads Hervé Guibert’s 1989 novella Fou de Vincent in dialogue with his writings on photography to analyze the novella’s representation of homosexual intimacy in the context of the HIV/AIDS epidemic. The peculiar narrative form of the novella—diary entries organized in reverse chronological order (“à l’envers”)—leads the reader to see the past through the lens of the present. By infusing the past with a sense of imminent loss, the novella reinscribes moments of intimacy (signified by the diaristic fragments that make up the text) as moments of anticipatory mourning. The mo

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Steinrud, Marie. "Follow Lundh! Between Text and Context in a Photographer’s Archive." Culture Unbound 12, no. 1 (2020): 16–35. http://dx.doi.org/10.3384/cu.2000.1525.2020v12a03.

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   No matter how well documented a life is, only shards, bits and pieces remain of what was once a vibrant person, with purpose, memories, feelings, actions and ideas. For any historian, these slivers are what remains and what can be used to access a past. This article presents a case study where the photographs taken by the photographer Gunnar Lundh (1898–1960) are in focus. The archive contains next to no written sources, and the information about the motifs is scarce. This is in fact the fate of many personal archives, especially those containing few written sources. The c

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Baers, Michael. "Concerning intent, interpretation, memory and ambiguity in the work of an informal collective working on the Western Sahara conflict." Memory Studies 12, no. 3 (2019): 294–306. http://dx.doi.org/10.1177/1750698019836190.

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In October 2016 I made my first visit to the refugee camps of Western Sahara’s Saharawi people near the Algerian town of Tindouf. This was an opportunity to advance my research on the work of an “informal collective” who work with a collection of photographs belonging to Moroccan soldiers, seized by SPLA (Saharawi People’s Liberation Army) over the course of 15 years spent fighting Moroccan forces. In this essay, I conceptualize the relationship between two disparate practices centering around photography—that of the Saharawi’s political organization, the Front Polisario, and the work undertak

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Pilarczyk, Ulrike. "Chalutzim—Zionist Photography in Germany and Palestine in the 1930s: A Comparative Analysis of Images." Leo Baeck Institute Year Book 64, no. 1 (2019): 91–114. http://dx.doi.org/10.1093/leobaeck/ybz009.

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Abstract This article reconstructs and compares photographic perspectives on the historical phenomenon of preparing German-Jewish youth for emigration from Germany, and their subsequent training in Palestinian kibbutzim in the framework of the hachshara and the youth aliyah. It considers the photographers’ status, differentiating between professional photography and the work of amateurs, and investigates the use and addressees of these images. The image analysis that underlies this study examines facets of the photographic and pictorial conception of chalutzian youth, including motifs, style,

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Petsini, Penelope. "Leros." Design/Arts/Culture 5, no. 1 (2025): 126–39. https://doi.org/10.12681/dac.39460.

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This photographic series explores Leros through its layered history of confinement and reform, with a particular focus on the Royal Technical School—a key landmark embodying the island's legacy of control. Captured during a 2017 visit with a National Broadcasting Corporation (ERT) crew, these photographs document restricted and decaying spaces tied to Leros’ complex past, including the Royal Technical School and its surrounding structures. The series investigates the material and symbolic traces of institutionalization, reflecting the island's transformation from an Italian naval base to a re-

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Matulytė, Margarita. "Expression of Lithuanian Photographic Art in the Context of Cultural Sovietisation (1958–1970)." Genocidas ir rezistencija 1, no. 17 (2025): 7–3. https://doi.org/10.61903/gr.2005.101.

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The article analyses tendencies in photographic art and the ideology which formed and ruled them in the post-Stalinist period. The chronological range (1958–1970) chosen for consideration marks the second stage of Soviet Lithuanian photography the beginning of collective public work. The mode of realistic depiction was modified and relatively liberalized in the years of the "Thaw" but still preserved the original ideology which enabled the strengthening of the Soviet regime. It was acknowledged that photography suffered a decline during the years of Joseph Stalin's rule. There was open critici

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Peixoto, Clarice E. "The photo in the Ffilm: public and private collections in video-portrait." Vibrant: Virtual Brazilian Anthropology 9, no. 2 (2012): 344–60. http://dx.doi.org/10.1590/s1809-43412012000200013.

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This article discusses the inclusion of photographs in ethnographic films, particularly in the genre video portrait. In the reconstitution of an individual's history, photographic images play an important role in the evocation of past facts that often remain only as fragments of memory. When examining personal collections and public archives, we prospect for photographic and iconographic images that allow usto construct possible relationships between collective and individual memories.

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Kubo, Yusuke, Masao Kubo, Hiroshi Sato, Munetaka Hirano, and Akira Namatame. "Understanding Geographic Attentions of Crowd from Photographing Information." Journal of Advanced Computational Intelligence and Intelligent Informatics 17, no. 6 (2013): 890–903. http://dx.doi.org/10.20965/jaciii.2013.p0890.

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We propose a framework for sharing photographs that reduces a load on communication network. When interesting events occur, many people take photographs of the events. Collecting photographs of such events and quickly building image database would enable us to share information in real-time more concretely than when using text based methods. However, a simple approach sending all photographs to a server immediately may cause congestion of a network infrastructure. In this paper, we propose a digital photographs classification method based on a main object of a photograph without using pixel in

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Vasconcelos, Soraya. "Daemonicycles." ARCHIVO PAPERS 3, no. 2 (2023): 101–17. https://doi.org/10.5281/zenodo.10038188.

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Soraya Vasconcelos is a visual artist, faculty member of Universidade Lusófona's photography department and researcher at Center for Other Worlds (COW). PhD in Communication, Culture and Arts (UAlgarve), she has been involved in projects connected to photography and art. As a full-time researcher (2019-2022) for Photo Impulse (ICNOVA) a project focused on a critical, decolonial analysis of the photographic and film archives produced in the context of Portuguese colonial science, she developped individual and collaborative artistic research and co-curated the project's final exhibition O Impuls

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Grushka, Kathryn Meyer, Aaron Bellette, and Allyson Holbrook. "Researching Photographic Participatory Inquiry in an E-Learning Environment." Articles 49, no. 3 (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

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Wei, Zhenyang, and Lin Zhu. "Humanistic Emotions—Expressing Emotions Through the Practice of Street Photography." Scientific Journal Of Humanities and Social Sciences 7, no. 8 (2025): 166–71. https://doi.org/10.54691/809gkc60.

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Human emotions, as a fundamental aspect of human experience, manifest in diverse ways within the visual arts. Street photography, characterized by its immediacy, spontaneity, and authenticity, emerges as a compelling medium for capturing and communicating emotional states. This study adopts street photography as a methodological tool to investigate how visual language—such as composition, lighting, and unposed moments—encodes both individual and collective emotional expressions. By conducting field-based photographic practices and subsequent image analysis, the research deciphers emotionally c

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Susanto Anom, Aji. "Kajian Sosiologi Seni Buku Foto “Estetika Banal” Karya Erik Prasetya." AKSA: JURNAL DESAIN KOMUNIKASI VISUAL 1, no. 2 (2020): 148–57. http://dx.doi.org/10.37505/aksa.v1i2.12.

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Erik Prasetya's photography book "Estetika Banal" is one of the unique objects of photography art and has its own value in the constellation of Indonesian photography book works. This photography book is an object of art whose value is formed by the social process of the photographer as well as the involvement of his supportive community. Assessment with the main theory of art sociology Howard S. Becker and Vera L. Zolberg which the author did will give answers to the phenomenon of explosion of photography books in terms of sales and also provide an understanding of the background of the forma

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Cajueiro, Tomas. "From Local Realities to Global Audience: Ollo Photo and the Revolution of Contemporary Photocolectives." Discursos Fotograficos 22 (May 20, 2025): e50585. https://doi.org/10.5433/1984-7939.2025.v22.50585.

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This paper explores the emergence of contemporary photographic collectives as a response to the structural crisis of photojournalism. Drawing on primary data and literature review, it focuses on the Ollo Photo, the first Galician collective, as a case study that allows the discussion of the potential of locally rooted photography to resonate on a global scale. It is argues that these collectives represent more than a new photographic subject, but a paradigm shift in how marginalized cultures assert themselves and challenge historical narratives. The paper contends that by providing a platform

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Mor, Liron. "Reorienting Visual Reading." Qui Parle 31, no. 2 (2022): 189–229. http://dx.doi.org/10.1215/10418385-10052298.

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Abstract This essay explores visual reading and its colonial aspects by analyzing the novel Ze ʿim ha-panim elenu (The One Facing Us, 1995), by Ronit Matalon, an Israeli Jewish author of Egyptian descent. In this novel Matalon displaces the dramas of Mizrahi Jews (Jews originating from the Arab and Muslim world) to Cameroon, thus stressing her protagonists’ uneasy positioning within the colonizer-colonized, West-East divides and connecting Zionist racialization to broader, global processes of colonial capitalism. By exploring her elaborate readings of photographs in the novel, the essay reveal

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O'Donnell, Therese. "Executioners, bystanders and victims: collective guilt, the legacy of denazification and the birth of twentieth-century transitional justice." Legal Studies 25, no. 4 (2005): 627–67. http://dx.doi.org/10.1111/j.1748-121x.2005.tb00687.x.

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‘We did not go into the streets when our Jewish friends were led away; we did not scream until we too were destroyed … We are guilty of being alive.’Karl Jaspers The Question of German Guilt, p 66The following scene as recounted by the English writer James Stern occurred in a German town one week after Germany's unconditional surrender in May 1945. A crowd is gathered around a series of photographs which though initially seeming to depict garbage instead reveal dead human bodies. Each photograph has a heading ‘WHO IS GUILTY?’. The spectators are silent, appearing hypnotised, and eventually ret

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Yaqub, Nadia. "The Afterlives of Violent Images." Middle East Journal of Culture and Communication 8, no. 2-3 (2015): 327–54. http://dx.doi.org/10.1163/18739865-00802009.

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This article examines the posting of photographs on two Facebook groups created by survivors of the 1976 fall of the Tal al-Zaʾtar refugee camp and their descendants. What happens to photographs as they circulate through these particular social media groups, and what relations do people (including photographed subjects who appear in images of atrocity and trauma) create with such images as they circulate in new ways? How are they mobilized through social media to create and sustain collective memory? I argue that by addressing the yearning to discover, document and sustain networks of affiliat

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