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Journal articles on the topic 'Family photographs'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Viditz-Ward, Vera. "Photography in Sierra Leone, 1850–1918." Africa 57, no. 4 (October 1987): 510–18. http://dx.doi.org/10.2307/1159896.

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Opening ParagraphIn recent years scholars have shown considerable interest in the early use of photography by non-Western peoples. Research on nineteenth-century Indian, Japanese and Chinese photography has revealed a rich synthesis of European and Asian imagery. These early photographs show how non-Western peoples created new forms of artistic expression by adapting European technology and visual idioms for their own purposes. Because of the long history of contact between Sierra Leoneans and Europeans, Freetown seemed a logical starting point for similar photographic research in West Africa.

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Kea, Pamela. "Photography, care and the visual economy of Gambian transatlantic kinship relations." Journal of Material Culture 22, no. 1 (December 14, 2016): 51–71. http://dx.doi.org/10.1177/1359183516679188.

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This article examines transnational kinship relations between Gambian parents in the UK and their children and carers in The Gambia, with a focus on the production, exchange and reception of photographs. Many Gambian migrant parents in the UK take their children to The Gambia to be cared for by extended family members. Mirroring the mobility of Gambian migrants and their children as they travel between the UK and The Gambia, photographs document changing family structures and relations. It is argued that domestic photography provides an insight into the representational politics, values and ae

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Bresnahan, Krystal, and Alyse Keller. "Performing Family Photographs." Departures in Critical Qualitative Research 5, no. 2 (2016): 30–46. http://dx.doi.org/10.1525/dcqr.2016.5.2.30.

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Historically, scholars have treated photography and performance as separate aesthetic entities. However, the authors show how combining a performance-based analysis with photo elicitation can generate new possibilities for remembering family experiences of divorce and illness. They purposefully frame photographs as performances, questioning how they are used in photo elicitation and how meanings are made through the embodied acts of the researchers. They use family photographs in their interviews to create a dialogical performance, bringing self and other together to question, explore, and cha

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Heroldová, Helena, and Jiřina Todorovová. "A Family Portrait: Enrique Stanko Vráz and the Qing Aristocracy During the Boxer Rebellion." Annals of the Náprstek Museum 39, no. 1 (2018): 51–74. http://dx.doi.org/10.1515/anpm-2018-0005.

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The Czech traveller and photographer Enrique Stanko Vráz (1860–1932) spent three spring months in China during the Boxer Uprising in 1901. He was amongst the first travellers – photo-reporters. He preferred realistic photographs as the best proof of capturing the world around him. In Beijing, he took several hundred photographs including the Manchu aristocratic families. Among them, he photographed Prince Su (1866–1922), an important late Qing statesman, and his family. The study discusses Prince Su’s family photographs in relations to Vráz’s notes and travel books.

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Lassetter, Jane H., Barbara L. Mandleco, and Susanne Olsen Roper. "Family Photographs." Qualitative Health Research 17, no. 4 (April 2007): 456–67. http://dx.doi.org/10.1177/1049732306298804.

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Sheikh-Miller, Nasira. "Muslim Cultures beyond the Aperture: An East African Photo-Story Illuminated by First-Hand Accounts." Journal of Material Cultures in the Muslim World 1, no. 1-2 (February 9, 2021): 150–90. http://dx.doi.org/10.1163/26666286-12340006.

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Abstract This paper is an exploration of Indian Muslim culture in East Africa through pre- and post-independence eras via the medium of photography. It examines the art and craft of photographic practice, the training of photographers, their social networks and those of their patrons, as well as the personal context of photographs. It also discusses the dispersal of archives and personal collections. It is based upon first-hand accounts from professional photographers, their family members as well as patrons, whose ancestors travelled from India via Indian Ocean trade routes. Fareh te chareh i

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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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Anahita, Sine. "Postmortem Identity Work in Territorial-colonialist Alaska." Humanity & Society 43, no. 2 (July 10, 2018): 179–203. http://dx.doi.org/10.1177/0160597618787848.

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Erving Goffman’s dramaturgical ideas about impression management are applied to analyze four historical photographs of deceased children. The photographs are archived at the Alaska State Library and were taken during Alaska’s territorial-colonialist era. This article explains how living photographic subjects, who are often unseen but are symbolized through items visible in the photograph, work with viewers to co-construct social identities of themselves and of the dead children in the photographs. I propose that participants—the seen and unseen subjects, the photographer, and the receiving aud

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Wyatt, Kirk D., Anissa Finley, Richard Uribe, Peter Pallagi, Brian Willaert, Steve Ommen, James Yiannias, and Thomas Hellmich. "Patients' Experiences and Attitudes of Using a Secure Mobile Phone App for Medical Photography: Qualitative Survey Study." Journal of Medical Internet Research 22, no. 5 (May 12, 2020): e14412. http://dx.doi.org/10.2196/14412.

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Background Point-of-care clinical photography using mobile devices is coming of age as a new standard of care for clinical documentation. High-quality cameras in modern smartphones facilitate faithful reproduction of clinical findings in photographs; however, clinical photographs captured on mobile devices are often taken using the native camera app on the device and transmitted using relatively insecure methods (eg, SMS text message and email) that do not preserve images as part of the electronic medical records. Native camera apps lack robust security features and direct integration with ele

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Mandleco, Barbara, Jessica Rosemann, Aimee Palicharla, Tammy Rampton, Tina Dyches, and Donna Freeborn. "Sibling Snapshots: Living with Youth who have Autism or Down syndrome." International Journal of Integrative Pediatrics and Environmental Medicine 2 (August 12, 2015): 13–30. http://dx.doi.org/10.36013/ijipem.v2i0.17.

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This study used photography to capture important symbols in the lives of 14 siblings of 13 youth with autism (ASD) and 16 siblings of 15 youth with Down syndrome (DS) and then determine if there were differences in the photographs taken according to the type of developmental disability, age, and gender of the sibling. Analysis revealed two types of photographs: people, including family members and non-family, and non-people, including objects, animals, and buildings/scenery. Siblings of youth with DS took a higher percentage of photographs of people and a higher percentage of photographs of fa

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Bell, Amy. "Crime Scene Photography in England, 1895–1960." Journal of British Studies 57, no. 1 (January 2018): 53–78. http://dx.doi.org/10.1017/jbr.2017.182.

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AbstractThis article discusses the development of techniques and practices of murder crime scene photography through four pairs of photographs taken in England between 1904 and 1958 and examines their “forensic aesthetic”: the visual combination of objective clues and of subjective aesthetic resonances. Crime scene photographs had legal status as evidence that had to be substantiated by a witness, and their purpose, as expressed in forensic textbooks and policing articles, was to provide a direct transfer of facts to the courtroom; yet their inferential visual nature made them allusive and evo

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Remes, Outi. "Reinterpreting Unconventional Family Photographs." Afterimage 34, no. 6 (May 1, 2007): 16–19. http://dx.doi.org/10.1525/aft.2007.34.6.16.

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Lockhart, Sharon. "Interview Locations/Family Photographs." Art Journal 59, no. 1 (2000): 64. http://dx.doi.org/10.2307/778083.

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Lockhart, Sharon. "Interview Locations/Family Photographs." Art Journal 59, no. 1 (March 2000): 64–73. http://dx.doi.org/10.1080/00043249.2000.10791983.

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Abilova, Ramina O., and Tatiana P. Krasheninnikova. "Journey of the USA Citizen Frank Whitson Fetter to the USSR: History of the Foreign Photographic Collection in the Duke University Library (1930)." Herald of an archivist, no. 4 (2020): 1184–200. http://dx.doi.org/10.28995/2073-0101-2020-4-1184-1200.

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The article presents the results of studying the Whitson Fetter (1899-1991) photo collection on Fetter’s visit to the Soviet Union in the summer of 1930. He spent six days in Moscow and six weeks in Kazan, then took a trip down the Volga River and the Caspian Sea. In his journey, Frank W. Fetter took about 330 photographs, which are currently stored in the David M. Rubenstein Rare Book & Manuscript Library, Duke University (Durham, North Carolina, USA). The article reconstructs the origin of the photographic collection (USSR, June-August 1930) and its life in the family archive of Frank W.

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Janeiro, Ana. "The Archive is Present: Performing a Story of Dictatorship Through the Family Album." Master, Vol. 5, no. 2 (2020): 32–35. http://dx.doi.org/10.47659/m9.032.ess.

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This essay describes an investigation into a family photographic archive that belonged to my grandparents and represent a period in Portugal’s past (1940–1975) scarred by one of the longest dictatorships in history. The research carries out an ‘iconographic’ analysis of the photographs in the family albums and on how these were influenced by the consistent and highly visual propaganda of the New State regime (1933–1974). It demonstrates how the iconography of this visual propaganda embedded itself into the family album, specifically regarding its propaganda strategy and its ideology and politi

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Kosh-Zohar, Talila. "Family Frames as Exile Photography." Leo Baeck Institute Year Book 64, no. 1 (2019): 5–17. http://dx.doi.org/10.1093/leobaeck/ybz003.

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Abstract This article examines five family photographs. The first of these family frames was taken in Czechoslovakia during the early 1930s and was found after the Holocaust, the one and only surviving photograph of my father’s exterminated family. The other four are family frames taken in Israel, the land of rebirth, where the survivors tried to start over from scratch, forget the past, and create a new family. All five frames are discussed as ‘exile photographs’—images of absence, alienation, and nostalgia; images of emotions like anxiety, sadness, and loneliness, all of which are inherent t

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Geffroy, Yannick. "Family photographs: A visual heritage1." Visual Anthropology 3, no. 4 (January 1990): 367–409. http://dx.doi.org/10.1080/08949468.1990.9966540.

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Musleh-Motut, Nawal. "From Palestine to the Canadian Diaspora." Middle East Journal of Culture and Communication 8, no. 2-3 (2015): 307–26. http://dx.doi.org/10.1163/18739865-00802008.

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In this paper I trace the various social biographies of selected family photographs that traveled from Palestine to Canada and depict my parents’ lives in pre-1948 Palestine, the West Bank and Jordan, and cover multiple generations from the 1930s to the present day. In this work I answer previously unattended questions; for instance, how and to what extend did the social and cultural meaning of these photographs change as they were removed from the photographic traditions of the Middle East where they were produced and relocated to Canada with my parents? What social and cultural value did the

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M'rani Alaoui, Malika. "Early Photography in the Rijksmuseum’s Collection: A Group of Glass Negatives from the Estate of Laurens Lodewijk Kleijn (1826-1909)." Rijksmuseum Bulletin 68, no. 1 (March 15, 2020): 5–29. http://dx.doi.org/10.52476/trb.9688.

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In 1999 a group of nineteenth-century glass negatives were transferred to the Rijksmuseum from the University of Leiden’s Print Room. The negatives came from the estate of the Dutch artist Laurens Lodewijk Kleijn (1826-1909), who also made them. Kleijn lived in Rome between 1851 and 1868, became interested in photography and began to experiment with the medium. While he was in Italy, he came into contact with Princess Marianne, who awarded him a number of commissions. He also looked after her sizeable collection, first in Rome, later in her museum in Erbach. As the curator, Kleijn photographed

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Aytemiz, Pelin. "Making Grandfather Come Out Better." Middle East Journal of Culture and Communication 8, no. 2-3 (2015): 355–73. http://dx.doi.org/10.1163/18739865-00802010.

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In contemporary Turkey, a growing number of lower to middle-income families bring old and often damaged photographs of their deceased family members to digital studios for restoration. Digital restoration artists, whether working online or from photography studios, retouch these photographs in often highly creative ways, such as adding color and fantasy backgrounds, or combining discrete portraits into fictional (diachronic) family portraits. Digital technologies such as the Photoshop program are here called upon to perform a very old desire: that of ensuring a dead person’s continued presence

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Pedri-Spade, Celeste. "“But they were never only the master’s tools”: the use of photography in de-colonial praxis." AlterNative: An International Journal of Indigenous Peoples 13, no. 2 (March 27, 2017): 106–13. http://dx.doi.org/10.1177/1177180117700796.

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The majority of anthropological literature around photography of Indigenous peoples has privileged the actions, agency, and intent of the Western photographer. While one cannot ignore the significant colonizing influences that photographs have had on Indigenous peoples, one cannot presume that these individuals were solely the silenced subject or victim in a one-sided, inferior relationship with the camera and its operator. Recent scholarship is now re-examining the relationship Indigenous peoples have had with photography as a culturally productive technology since its development. In this ar

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Kanatani, Kim, and Sharon Vatsky. "Three Contemporary Artists Explore Family Photographs." Art Education 63, no. 4 (July 2010): 25–32. http://dx.doi.org/10.1080/00043125.2010.11519076.

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Becker, Karin, and Geska Helena Brečević. "More Than a Portrait: Framing the Photograph as Sculpture and Video Animation." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 48–55. http://dx.doi.org/10.47659/m5.048.art.

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This essay traces the resurrection of the fotoescultura, a three-dimensional photographic portrait popular in rural Mexico in the early 20th century, as interpreted in recent works by Performing Pictures, a contemporary Swedish artist duo. The early fotoesculturas were an augmented form of portraiture, commissioned by family members who supplied photographs that artisans in Mexico City converted into framed sculptural portraits for display on family altars. We compare these »traditional« photographic objects with “new” digital forms of video animation on screen and in the public space that cha

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La, Kristie. "“Enlightenment, Advertising, Education, Etc.”: Herbert Bayer the Museum of Modern Art's Road to Victory." October 150 (October 2014): 63–86. http://dx.doi.org/10.1162/octo_a_00201.

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“In the beginning was virgin land and America was promises.”2 So began the text panel located in the opening panorama of the photo exhibition Road to Victory: A Procession of Photographs of the Nation at War that the Museum of Modern Art organized in 1942 and circulated between 1943 and 1945. Years before Edward Steichen became curator of photography at MoMA and organized the global blockbuster exhibition The Family of Man, he combed government, press, and corporate archives to select the photographs for Road to Victory, his first curatorial project at the museum. Encircling the opening text w

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Mariz, Anna Carla Almeida, Armando Malheiro da Silva, and Rosa Inês de Novais Cordeiro. "As fotografias nos arquivos pessoais e familiares: para uma revisão teórica." Páginas a&b : Arquivos & Bibliotecas, no. 14 (2020): 74–90. http://dx.doi.org/10.21747/21836671/pag14a6.

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Research about personal and family archives that was developed based on the literature published in Portuguese language and on technical visits carried out in December 2019 at the Archive and Library of the Eugénio de Almeida Foundation, in Évora, and at the Photographic Documentation Archive of the General Directorate of Cultural Heritage, in Lisbon, with the objective of verifying how the archival processing of photographs presents itself in this panorama. It seeks to examine how the authors conceptualize personal and family archives and how is the photographs presentation in these archives.

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Auslander, Leora. "Reading German Jewry through Vernacular Photography: From the Kaiserreich to the Third Reich." Central European History 48, no. 3 (September 2015): 300–334. http://dx.doi.org/10.1017/s0008938915000771.

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AbstractBuilding on a generation of scholarship that argues that an understanding of German Jewish life must move beyond debates over terms—assimilation, acculturation, integration, subcultures, and symbiosis—this article uses three photograph albums created by the Wassermann family of Bamberg, in conjunction with the written record, to suggest an alternative interpretive framework for understanding the complexity of German Jewish lives in the first third of the twentieth century. Rethinking this history through a close analysis of photographs and photograph albums is particularly productive b

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MITRIČEVIĆ, Filip. "The Ways in Which I Never Thought About My Great-Grandfather: An Essay on the Potentials of Photography as a Historical Document∗." Tokovi istorije 28, no. 3/2020 (December 14, 2020): 247–68. http://dx.doi.org/10.31212/tokovi.2020.3.mit.247-268.

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This paper is on the trail of answering the theoretical question of the potential of photography as a historical source. The paper does not aim for a historical reconstruction in the classical sense but is an attempt to show the reach of this visual media in historical research, based on the correlation of a sample of family photographs, oral history, and theory. By employing the author’s “personal voice,” the paper attempts to correlate particularities with a broader context and general theory. The author uses photographs of his great-grandfather, made at a prisoner-of-war camp during the Wor

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Cervantes Salas, Mauricio Pablo, Harlan Koff, and Carmen Maganda. "World Family Portrait." Regions and Cohesion 11, no. 2 (June 1, 2021): 145–51. http://dx.doi.org/10.3167/reco.2021.110207.

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In this issue: Regions & Cohesion is proud to present a selection of four photographs submitted by Mauricio Salas Cervantes and taken by Felipe Morales Leal that describe a research visit within a multidisciplinary and multinational project in the transboundary Guatemala–Mexico region with a perspective of a landscape analysis. These pictures taken in the Suchiate river in Soconusco region show the complexity and plurality of one of the most transited crossing points between Mexico and Guatemala. We also publish two photographs by our editors Carmen Maganda and Harlan Koff that illustrate

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Poister, Geoffrey. "Inside vs. outside meaning in family photographs." Visual Anthropology 14, no. 1 (March 2001): 49–64. http://dx.doi.org/10.1080/08949468.2001.9966816.

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Donaldson, Peter J. "Using Photographs to Strengthen Family Planning Research." Family Planning Perspectives 33, no. 4 (July 2001): 176. http://dx.doi.org/10.2307/2673722.

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Donaldson, Peter J. "Using Photographs to Strengthen Family Planning Research." International Family Planning Perspectives 27, no. 3 (September 2001): 148. http://dx.doi.org/10.2307/2673837.

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Parayil, Sujithkumar. "Family photographs: visual mediation of the social." Critical Quarterly 56, no. 3 (October 2014): 1–20. http://dx.doi.org/10.1111/criq.12134.

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Hawes, J. M., and E. I. Nybakken. "Photographs as a Source for Family History." OAH Magazine of History 15, no. 4 (June 1, 2001): 48–49. http://dx.doi.org/10.1093/maghis/15.4.48.

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Wharton, Whitney, Fayron Epps, Mariya Kovaleva, Lindsey Bridwell, Rachanice Candy Tate, Cornelya D. Dorbin, and Kenneth Hepburn. "Photojournalism-Based Intervention Reduces Caregiver Burden and Depression in Alzheimer’s Disease Family Caregivers." Journal of Holistic Nursing 37, no. 3 (October 4, 2018): 214–24. http://dx.doi.org/10.1177/0898010118801636.

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Purpose: Art interventions have demonstrated holistic benefits for persons living with dementia and their caregivers. In this article, we describe the results of a pilot photojournalism program for 10 unpaid caregivers of persons living with dementia, with respect to caregivers’ experience in the program and their psychological well-being. Design: Caregivers participated in four sessions led by a professional photojournalist who taught principles of photography. Between the sessions, caregivers took photographs that represented what caregiving meant to them using digital cameras provided in th

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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 (October 13, 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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Aziz, Jamaluddin. "“Say Cheese”: Family Photos, Modern Malay Masculinity and Family Narrative in Some Malaysian Films." Jurnal Komunikasi: Malaysian Journal of Communication 36, no. 4 (December 11, 2020): 282–93. http://dx.doi.org/10.17576/jkmjc-2020-3604-17.

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Family photographs are often used as a prop in a set-up of a family home in a film. Employing visual culture approach, I would argue that through the use of family portraits both in figurative and artefactual forms, the narrative about family is often unravelled, challenged and subsequently validated. A close textual analysis of three P. Ramlee’s films that mark the dawn of modernism in the immediate post-independence Malaya and the formation of Malaysia in 1963 as a case study, this paper asks the following questions: What types of narratives are created through the display of family portrait

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Høvik, Ingeborg. "Framing the Arctic: Reconsidering Roald Amundsen’s Gjøa Expedition Imagery." Nordlit, no. 35 (April 22, 2015): 137. http://dx.doi.org/10.7557/13.3431.

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<p align="left">In 1906 Roald Amundsen’s Gjøa Expedition returned to Norway after three years in the Arctic. The first to complete a Northwest Passage by sea, the expedition also brought back a substantial amount of ethnographic material concerning the Netsilik Inuit, with whom Amundsen and his crew had been in sustained contact during their stay on King William Island in Nunavut between 1903 and 1905. This material included a large number of photographs, forty-two of which were included as illustrations in his expedition narrative, titled <span style="font-family: TimesNewRomanPSMT;"

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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.

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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

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Pasternak, Gil. "Intimate Conflicts: Family Photographs, Politics and State Ideology." Radar 2, no. 1 (March 1, 2011): 13–14. http://dx.doi.org/10.5920/radar.2011.2113.

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Smith, Shawn Michelle. "Fragile Testimony: Family Photographs and Kelly McKaig's Dreamworlds." Frontiers: A Journal of Women Studies 19, no. 3 (1998): 98. http://dx.doi.org/10.2307/3347090.

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Kral, Michael J. "More on Goddard and the Kallikak family photographs." American Psychologist 43, no. 9 (September 1988): 745–46. http://dx.doi.org/10.1037/0003-066x.43.9.745.

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Callister, Sandy. "Picturing loss: Family, photographs and the Great War." Round Table 96, no. 393 (December 2007): 663–78. http://dx.doi.org/10.1080/00358530701634242.

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Bickers, Robert. "Transforming Frank Peasgood. Family Photographs and Shanghai Narratives." European Journal of East Asian Studies 6, no. 1 (2007): 129–42. http://dx.doi.org/10.1163/157006107x197691.

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AbstractWhat narratives can be fashioned by the historian from visual documents, and how might this relate to the narrative intention of those who created them? This paper explores the handful of surviving photographs recording the career of a British member of the Shanghai Municipal Police between 1929 and 1943. War and internment destroyed most of the visual records that former coalminer Frank Peasgood had collected during his police service, saving only those that had accompanied letters he had sent home to his family. The narrative he created with these can be clearly presented, and is dis

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Rose, Gillian. "Family photographs and domestic spacings: a case study." Transactions of the Institute of British Geographers 28, no. 1 (March 2003): 5–18. http://dx.doi.org/10.1111/1475-5661.00074.

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Doucet, Andrea. "Decolonizing Family Photographs: Ecological Imaginaries and Nonrepresentational Ethnographies." Journal of Contemporary Ethnography 47, no. 6 (January 1, 2018): 729–57. http://dx.doi.org/10.1177/0891241617744859.

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This article lays out my process of developing an ecological and nonrepresentational approach for conducting an ethnography of family photos as objects of investigation, practices, and sites for the making and remaking of decolonizing stories and histories. It is rooted in a three-part project on family photographs: first, an ongoing project with a three-generation Indigenous family who has a history with Canada’s residential school system; second, revisiting my own family photo albums that include photos of missionary nuns in my family who had worked in Indigenous schools and communities in t

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Stevens, Wallace. "Portfolio: An Untitled Poem and Three Family Photographs." Wallace Stevens Journal 45, no. 1 (2021): 107–10. http://dx.doi.org/10.1353/wsj.2021.0007.

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Lonetree, Amy. "A Heritage of Resilience." Public Historian 41, no. 1 (February 1, 2019): 34–50. http://dx.doi.org/10.1525/tph.2019.41.1.34.

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This article explores the importance of a unique and rich collection of photographs of Ho-Chunk people taken between 1879 and 1942 by Black River Falls, Wisconsin, photographer Charles Van Schaick. Unlike the collections of Edward Curtis who sought to capture images of a “vanishing race” for ethnographic or commercial purposes, these were photographs that Ho-Chunk families themselves commissioned for their own personal use, and for the most part, controlled how these images were circulated. Today these images are powerful representations of Ho-Chunk tribal and family history, and reflect a her

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Bates, Maya Jane, Jane Ardrey, Treza Mphwatiwa, Stephen Bertel Squire, and Louis Willem Niessen. "Enhanced patient research participation: a Photovoice study in Blantyre Malawi." BMJ Supportive & Palliative Care 8, no. 2 (February 1, 2018): 171–74. http://dx.doi.org/10.1136/bmjspcare-2017-001439.

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ObjectivesPatient involvement in palliative care research is a desirable if challenging goal. Photovoice is an action research method in which affected communities gather photographs to document and discuss their communities’ strengths and concerns. Engagement with policymakers is a separately stated goal. Photovoice is increasingly used in health-related research but has not been widely described in the palliative care literature. We report on experiences and lessons learnt using Photovoice in Blantyre, Malawi to encourage its wider use in research and practice.MethodsThirteen co-researchers

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Adams, Tamsyn. "Unpacking the photographic collection of a Natal Midlands farming family: ways of working with photographs." Critical Arts 32, no. 1 (January 2, 2018): 27–42. http://dx.doi.org/10.1080/02560046.2018.1439077.

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