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Relevant bibliographies by topics / Feminism and photography

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Academic literature on the topic 'Feminism and photography'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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Journal articles on the topic "Feminism and photography"

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Padmanabhan, Lakshmi. "A Feminist Still." Camera Obscura: Feminism, Culture, and Media Studies 35, no. 3 (December 1, 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 which such photographs turn personal scenes of mourning into collective memorials to militancy, even as they embalm their subjects in a state of temporal paralysis and strip them of their individual history. It contrasts these snapshots to Chhachhi’s collaborative portrait of Chadha from 1990, a “feminist still” that deploys formal conventions of stillness to stage temporal encounters between potential histories and unrealized futures. Throughout, the article returns to the untimeliness of Chhachhi’s photography, both in the multiple temporalities opened up within the image and in its avant-garde critique of feminist politics through experiments with photographic form.

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Berti, Orlando Maurício de Carvalho. "EXTENSÃO E QUESTÕES COMUNICACIONAIS SOCIAIS: o caso do curso de Fotografia, Feminismo e Mulheres Diversas da Universidade Estadual do Piauí." Revista Observatório 5, no. 4 (July 1, 2019): 258–79. http://dx.doi.org/10.20873/uft.2447-4266.2017v5n4p258.

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Este artigo reflete sobre o caso do curso de extensão em Fotografia, Feminismo e Mulheres Diversas, mediado pela Universidade Estadual do Piauí (Uespi), por meio da Pró-reitoria de Extensão, Assuntos Estudantis e Comunitários. O curso é uma provocação dos movimentos sociais e estudantis ligados aos feminismos para refletir, por meio de imagens, sobre as questões ligadas às mulheres no Estado do Piauí. O trabalho descreve, retrata e analisa os resultados do curso, entre polêmicas, discriminações e consequências. Destaca-se, metodologicamente, uma abordagem qualitativa, por meio de estudo de caso, com relato de atividades práticas e sociais. O curso contou com a participação de militantes sociais, membros da comunidade em geral, além de membros dos corpos discente e docente da instituição, mulheres e homens. Os trabalhos do curso culminaram com cinco exposições fotográficas, com quase 400 fotografias (entre as mais de 15 mil feitas nas atividades práticas) que devem circular o Estado do Piauí e ajudar a desmitificar as questões relacionadas ao feminismo e a esclarecer sobre a importância da discussão dessa temática. PALAVRAS-CHAVE: Comunicação Social; Extensão universitária; Feminismos; Fotografia; Universidade Estadual do Piauí. ABSTRACT This article reflects about the Extension in Photography, Feminism and Various Women course case, mediated by Universidade Estadual do Piauí (Uespi), through Extension, Students’ and Community Affairs Pro-rectory. The course is a provocation of social and student movements connected to feminism for reflections, through images, on questions linked to women on Piauí State. The work describes pictures and analyses the course consequences, among discussions, discriminations, and consequences. Methodologically, it stands out a qualitative approach, through a case study, with a report of practical and social activities. The course relied on the participation of social activists, members of the community in general, and members of the student and teaching staff from this institution, among men and women. The works of this course culminated in five photographic exhibitions, with almost 400 photographies (amongst more of 15,000 made on practical activities) which may move around Piauí and help to demystify the questions related to feminism and to enlighten about the importance of discussions on this subject. KEYWORDS: Social communication; University Extension; Feminism; Photography; Universidade Estadual do Piauí. RESUMEN Este artículo refleja acerca del caso del curso de Extensión en Fotografía, Feminismo y Mujeres Diversas de responsabilidade por la UESPI – Universidad Estatal de Piauí – a través de la Pro-rectoría de Extensión, Asuntos Estudiantiles y Comunitarios. El curso es una provocación de los movimientos sociales y estudiantiles ubicados a los feminismos para reflejar, a través de imágenes, las cuestiones cercanas a las mujeres en la província de Piauí, Noreste de Brasil. El artículo describe, retrata y analiza las consecuencias del curso, entre polémicas, discriminaciones y consecuencias. Se destaca metodológicamente un abordaje cualitativo, a través de estudio de caso, con relato de actividades prácticas y sociales. El curso contó con la participación de militantes sociales, miembros de la comunidad en general, y miembros de los cuerpos discente y docente de la institución, entre mujeres y hombres. Los trabajos del curso culminaron con cinco exposiciones fotográficas, con casi 400 fotografías (entre las más de 15.000 hechas en las actividades prácticas) que deben circular en toda la província de Piauí y ayudar a desmitificar las cuestiones relacionadas al feminismo ya aclarar sobre la importancia del debate de esa discusión. PALABRAS CLAVE: Comunicación Social; Extensión Universitaria; feminismos; Fotografía; Universidad Estatal de Piauí.

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Witkowska, Sylwia. "Polski feminizm - paradygmaty." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 25, no. 25 (February 25, 2019): 194–241. http://dx.doi.org/10.5604/01.3001.0012.9855.

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The issue of feminist art struggles with a great problem. In my study I focus solely on Polish artists, and thus on the genealogy of feminist art in Poland. Although all the presented activities brought up the feminist thread, in many cases a dissonance occurs on the level of the artists’ own reflections. There is a genuine reluctance of many Polish artists to use the term “feminist” about their art. They dissent from such categorization as if afraid that the very name will bring about a negative reception of their art. And here, in my opinion, a paradox appears, because despite such statements, their creativity itself is in fact undoubtedly feminist. I think that Polish artists express themselves through their art in an unambiguous way – they show their feminine „I”. The woman is displayed in their statement about themselves, about the experiences, their body, their sexuality. Feminism defined the concept of art in a new way. The statement that art has no gender is a myth. The activities of women-artists are broader and broader, also in Poland women become more and more noticed and appreciated. Feminist art does not feature a separate artistic language, it rather features a tendency towards realism, lent by photography or video, which reflects the autonomy of the female reception of the world. It should be stated that feminism is a socially needed phenomenon, and its critique drives successive generations of women-artists.

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Looft, Ruxandra. "#girlgaze: photography, fourth wave feminism, and social media advocacy." Continuum 31, no. 6 (August 31, 2017): 892–902. http://dx.doi.org/10.1080/10304312.2017.1370539.

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Eggers, Tuane Maitê. "Descolonizando narrativas sobre mulheres: a fotografia como potência." Revista PHILIA | Filosofia, Literatura & Arte 2, no. 2 (November 10, 2020): 470–503. http://dx.doi.org/10.22456/2596-0911.104554.

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As narrativas sobre mulheres, mesmo dentro dos estudos feministas, podem ser entendidas como normativas e colonizadoras, especialmente quando se dão a partir de um olhar ocidental sobre as mulheres do terceiro mundo. A partir da análise do pensamento da autora indiana Chandra Talpade Mohanty, este artigo busca relacionar seu discurso com exemplos de mulheres fotógrafas que buscaram desconstruir essa estrutura hierárquica do olhar, como Claudia Andujar, Graciela Iturbide, Nair Benedicto e Susan Meiselas, além das reflexões da artista interdisciplinar Grada Kilomba, em diálogo com outros autores do campo da imagem. A fotografia pode ser considerada, assim, uma ferramenta de escrita de novas narrativas de resistência.Palavras-chave: Feminismo. Fotografia. Mulheres fotógrafas. AbstractNarratives about women, even within feminist studies, can be understood as normative and colonizing, especially when they are done from a western perspective on third world women. Based on the analysis of the thought of Indian author Chandra Talpade Mohanty, this article seeks to relate her discourse to examples of female photographers who sought to deconstruct this hierarchical structure of the gaze, such as Claudia Andujar, Graciela Iturbide, Nair Benedicto and Susan Meiselas, in addition to the reflections of the interdisciplinary artist Grada Kilomba, in dialogue with other authors in the field of image. Photography can thus be considered a tool for writing new narratives of resistance.Keywords: Feminism. Photography. Women photographers.

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Correia, Maria da Luz, and Carla Cerqueira. "Interview with Ruth Rosengarten. “Feminist photography today is diverse and fairly elastic, rather than fixated on the old binaries”." Comunicação e Sociedade 32 (December 29, 2017): 501–6. http://dx.doi.org/10.17231/comsoc.32(2017).2776.

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Morris, Catherine. "‘Unremarkable, Forgotten, Cast Adrift’: Feminist Revolutions in Irish Visual Culture." Review of Irish Studies in Europe 2, no. 2 (October 24, 2018): 70–88. http://dx.doi.org/10.32803/rise.v2i2.1888.

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This creative essay examines how visual culture and Alice Milligan’s re-animation of the Tableaux as a radical form of theatre practice operated as a link between ideas of national culture and revolutionary feminism in Ireland. But the tableaux had other elective affinities too. Theatre, photography and the magic lantern were the most immediately obvious of these; but cinema and art installation are by now also recognizably among them. The moving cinematic image is in fact a series of still pictures which give the effect of movement. As silent films became more popular in Ireland in the early years of the twentieth century they were called ‘living pictures’, the name also used to describe tableaux. But even in the era of the early silent film, directors often suspended action to jolt the viewer into another interpretative realm. We see this in Griffith’s 1909 film A Corner in Wheat — where a shot of a bread queue looks like the film has stopped. Early photography was vital to Alice Milligan’s practice: she raised funds for the first magic lantern for the Gaelic League (first used in Donegal); travelled the country taking photographs of people and sites; projected glass slides as part of community tableaux shows; and Maud Gonne’s early play Dawn uses 3 of her tableaux. During the 1897 royal visit to Dublin, James Connolly, Milligan and Maud Gonne used a magic lantern to project onto Dublin’s city walls photographs of famine that they had witnessed in the west of Ireland.

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Gagliardi, Nancy. "Dieting in the Long Sixties: Constructing the Identity of the Modern American Dieter." Gastronomica 18, no. 3 (2018): 66–81. http://dx.doi.org/10.1525/gfc.2018.18.3.66.

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The gender narrative of the 1960s frequently focuses on the reemergence of feminism, yet a growing diet culture provides an alternate entry point for investigating the era and its gendered foodways. The growth of both movements also provides a new perspective on the consumer landscape and ideals regarding female dieting behaviors. To that end, this article interrogates advertisements for the popular appetite suppressant Ayds, the first to use before-and-after photography and a first-person narrative to detail a woman's weight-loss journey. Using Erving Goffman's frame analysis theory to examine gender while applying a feminist-inspired lens to the text, a female identity emerges. Called the Modern American Dieter, she was a woman trapped between a traditional past and the promise of a new, feminist-inspired future. Both worlds were shaped by the era's marketers, who created a modern dieting narrative (using commodity scientism and female empowerment) that still exists today to sell weight loss.

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Welland, Sasha Su-Ling. "Camouflaged Histories." positions: asia critique 28, no. 1 (February 1, 2020): 87–119. http://dx.doi.org/10.1215/10679847-7913067.

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Lei Yan 雷燕, whose artistic practice was shaped by a decades-long career in the Chinese military, began a period of transition through participation in a 2002 restaging of the Communist Red Army’s 1934 Long March as a multi-sited international art project. Her resulting encounter with US feminist art icon Judy Chicago raised questions about the potential neocolonial influence of global feminist art. The work Lei subsequently produced performs an autoethnographic excavation of the sociohistorical categories—woman soldier, military artist, and woman artist—that made her as both artist and woman. She works from within a national representational corpus, subjecting it to various experiments to reveal the fields of violence it has enacted from the Sino-Vietnamese War to the Great Sichuan earthquake. Lei Yan’s meditation through photography upon national, revolutionary iconography evolved into soft sculpture objects in cloth and paper. Their arrested ephemerality decenters the human subject, drawing attention to haunting absences in conventional stories of art, feminism, and nation. In comparison with the monumental work of Ai Weiwei 艾未未, who also created pieces in response to the 2008 Sichuan earthquake, Lei’s art serves not to admonish but to bring back into consciousness lost lives and camouflaged histories.

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Vron Ware Talks to Jo Littler. "Gender, race, class, ecology and peace." Soundings 75, no. 75 (September 1, 2020): 144–60. http://dx.doi.org/10.3898/soun.75.09.2020.

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In this interview Vron Ware discusses how her work has intertwined themes of 'gender, race, class, ecology and peace', as she put it in her book Beyond the Pale: White Women, Racism and History, published in 1992 - a time when 'talking about whiteness … was usually met by stony silence'. She relates this and her early work on gender and the National Front to more recent incarnations of gendered racism. The discussion moves over a wide range of subjects, including whiteness and the environmental movement, feminist statues and military monuments, the role of painting and photography in teaching and learning and how we might see futures beyond militarism. Ware reflects on ways in which the politics of 'gender, race, class, ecology and peace' formed part of her background in NGOs and campaigning organisations - including Searchlight, Friends of the Earth and the Women's Design Service. The same themes also run through her current project on re-thinking the category of the rural, which involves 'trying to think ecologically, in a way that sees interconnections between social, economic and cultural changes' - continuing the effort to join the dots between anti-racism, feminism, anti-militarism and eco-socialism.

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Dissertations / Theses on the topic "Feminism and photography"

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Yu, Kit-yee Flora, and 余潔儀. "Postmodernism and photography." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1991. http://hub.hku.hk/bib/B31950152.

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Matzke, Alex. "If She Isn’t Working Miracles, What Is She Doing On The Battlefield?" VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4259.

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The images included in my thesis work reflect my experience growing up with military propaganda—pictures of cheerful white women in pearls as part of my rural middle American landscape. I do not name the oppressor because I am not here to pick at the thorns, but to get to the root of the oppression. These are some of the servicewomen I’ve met. Their stories parallel but cannot encompass the private experiences of all service women. I am grateful for their generosity; without them there would be no pictures. The battle for equality is much older than Rosie the Riveter but we still ask the same questions we asked Joan of Arc in the 15th century: if she isn’t working miracles, what is she doing on the battlefield?

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Spenny, Anne M. "Portrait of a young woman /." Online version of thesis, 1989. http://hdl.handle.net/1850/11529.

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Wilson-Bryant, Kaitlyn. "The botanical thread /." Online version of thesis, 2008. http://hdl.handle.net/1850/7788.

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Bellettiere, Giovanna Marie. "AMERICAN FEMINISM: THE CAMERA WORK OF ALICE AUSTEN, ALFRED STIEGLITZ, AND BERENICE ABBOTT." Master's thesis, Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/578947.

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Art History
M.A.
This thesis explores the work of photographers: Alice Austen, Alfred Stieglitz, and Berenice Abbott in relation to the American landscape of New York from approximately 1880 through 1940. Although the artwork of Georgia O’Keeffe is not addressed specifically, her role as an artist communicating her modern self image through Stieglitz’s photography is one area of focus in the second chapter. Previous scholarship has drawn parallels between women artists and photographers solely in terms related to their gender identity. In contrast, my project identifies a common theoretical thread that links the work of these artists: namely, that photography allowed professional women of this time to react and rise above the constrictions of gender expectations, and moreover, how their own attitudes based in feminist sensibility enabled them to fashion and broadcast bold, liberated self-images. Inspired by the radical transformations of women’s social roles in the United States, each artist produced photographs that represented the evolving role of women in the late nineteenth and early twentieth centuries. Using visual analysis and historical context associated with the “New Woman” movement, I argue that each artist discussed in this thesis not only challenges the domestic sphere conventionally assigned to women photographers, but also makes new strides by engaging in work that allows for them to autonomously travel within their own territories or new expansive locations. This thesis gives fresh insight as to how photography provided novel opportunities for elevating women’s place in society, as well as in the artistic realm. Overall, photography was an important tool for each artist as these three women act as agents of change by demonstrating a control of womanhood while the role of a female was beginning to become less constrained by the domestic and social norms of society.
Temple University--Theses

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Niles, Krista Joy. "An Arranged Deconstruction: The Feminist Art Practice of Louise Lawler." Thesis, The University of Arizona, 2015. http://hdl.handle.net/10150/565894.

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The purpose of this thesis is to examine the artistic production of photo artist Louise Lawler and the evolution of critical response to her work between the 1970s and 1990s. Of main concern are the manner in which early scholarship and exhibition reviews effectively situated Lawler's work within the discourse of institutional critique, a field of critical scholarship and artistic production that examines institutions of art such as museums and galleries. The objective of this thesis is to reexamine Lawler from a feminist art historical perspective using French feminist theory to investigate how her work can arguably be considered to be a feminist intervention into the patriarchal structures of museums, galleries, and connoisseurship. Lawler's dominant practice is photographic in nature, yet she does not consider herself a photographer. Like many artists of her generation Lawler has capitalized upon the indexical nature of the photographic medium, using it as a tool to create images that "document" art objects in situ. She has made her art in all the places in which artworks circulate or are displayed, be it the curated spaces of museums, an auction house or a private house, well-lit gallery show room walls or crowded and dark storage rooms. Throughout her forty-year career Lawler has worked to disrupt the patriarchy of the art world by drawing attention to philosophies of display and exhibition. She has shown us what is not on display within art systems by consistently showing us what is on display. She has refused to comply with systems or organization, crafting textual interventions that disrupt the linguistics of wall labels and titles of artworks. She has fragmented and dislocated the authorship of artists to their works, and she has appropriated curatorial practices to claim both the physical spaces of display and gain control of what objects are deemed valuable enough to be shown there. Lawler's work has consistently interrupted normative practices of art institutions, effectively disrupting the patriarchy inherent within the systems and structures to define art.

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Dellaposta, Jo-Ann J. "Homonymous projections /." Online version of thesis, 1989. http://hdl.handle.net/1850/11376.

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Goldbeck, Justina. "Beauty is in the eye of she who holds it." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1173.

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Justina Goldbeck Artist Statement My work explores themes of supernatural alternate universes and humans interaction with nature. Using the medium of photography I strive to create impossible realities, juxtaposing the real and the imagined. My work portrays mystical women interacting with surreal environments and seeks to portray the simple act of existing nature as a magical and spiritual experience. As a female artist my work has often been criticized for being too beautiful and for this reason, void of substance. I believe that beauty has inherent value and goodness. My photos celebrate the beauty of female strength and the unmarred landscape. The mirror to me represents negative stereotypes of superficiality attributed to women female created art. Male painters and photographers thought history have become famous for portraying the passive female form. However, selfies or other images taken of women and by women are considered exercises in vanity. This series seeks to challenge that narrative. The mirrors in my images add depth to the piece, showing a perspective one would not see otherwise. In most images the mirrors obscure the subject and reflect the environment she is in, uniting women with nature, and revealing something deeper within the subject. Photographs are taken far away from civilization and are not preplanned and are constructed without the use of elaborate technology. My practice is rooted in exploring, discovering new landscapes and new ways to photograph them. My work is notably not manipulated in photoshop. All of the seemingly impossible elements of the pieces are created in camera using mirrors and strategically placed colored camping lights. This lack of manipulation is intended to challenge the idea that images reflect unadulterated reality. It is also to contradict the idea that anything impossible must be photoshopped. My work is influenced by magical realism as well as surrealist photography. As a female photographer working with female subjects it is important to me to escape the traditional relationship between active artist and passive subject. Each photo I take is a collaboration with my female subject as well as a collaboration with nature. Through my photos I seek to emphasize a non objectified female form as she interacts with nature and portray my subject as a magnetic and powerful force uniting in spirit with her natural environment.

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Strait, Laura. "Notions of Progress: The Framing of Women in the Arab Spring." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18494.

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The Arab Spring marked a new age of international political participation and support, facilitated by the wide circulation of imagery via social and mass media. Many in the West found themselves in ideological agreement with the political efforts of the protests, upholding the U.S. rhetorical tenets of democracy and freedom of speech. The visual framing of the Arab Spring in U.S. news media played a crucial role in forging this ideological consensus. My thesis focuses specifically on the visual framing of women in the Egyptian uprising by exploring the Western news portrayal of the presence of women in the Egyptian political sphere. In order to ground my assessment of Western perceptions, I conduct a content analysis of coverage of the Egyptian uprising protests from Getty and AP photography databases. My analysis is also supported and influenced by a rigorous theoretical foundation in framing theory, Orientalism, and postcolonial feminist theory.

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Henninger, Katherine. "Ordering the façade : photography and the politics of representation in contemporary Southern women's fiction /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Books on the topic "Feminism and photography"

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Turner, Christine. Photography, feminism and the sociology of knowledge. Ottawa: National Library of Canada, 1996.

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Indecent exposures: Twenty years of Australian feminist photography. St Leonards, NSW, Australia: Allen & Unwin in association with the Power Institute of Fine Arts, 1994.

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Printing, London College of. BA Photography dissertation 1989: Feminism, science fiction and social criticism. London: LCP, 1989.

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London College of Printing and Distributive Trades. BA Photography dissertation 1991: Mirror mirror on the wall : controlling the gaze- feminism, photography and self portraiture. London: LCPDT, 1991.

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Arte, fotografia e femminismo in Italia negli anni Settanta. Milano: Postmedia books, 2013.

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McEachern, Susan. The creation of desire: An exhibition. [Halifax, N.S.]: Eye Level Gallery, 1992.

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Feminine fables: Imaging the Indian woman in painting, photography,and cinema. Ahmedabad: Mapin Publishing, 2002.

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Inc, First Bank System. What does she want?. [Minneapolis, Minn.]: First Banks, 1989.

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Sajin ŭi puktchok: Ko Hyŏn-ju, Ku Sŏng-yŏn, Kim Su-gang ... [et al.]. Sŏul T'ŭkpyŏlsi: Wŏlgan Sajin, 2008.

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1967-, Cusk Rachel, Allnutt Gillian 1949-, Byatt, A. S. (Antonia Susan), 1936-, Otsuka Julie 1962-, Moorehead Caroline, Gregerson Linda, Davis Lydia 1947-, et al., eds. The F word. London: Granta, 2011.

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Book chapters on the topic "Feminism and photography"

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Lan, Yap Fu. "Spiritual Praxis through Photography." In Feminist Cyberethics in Asia, 181–98. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137395863_11.

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Sperling, Alison. "Radiating Exposures." In Cultural Inquiry, 41–62. Berlin: ICI Berlin Press, 2020. http://dx.doi.org/10.37050/ci-17_03.

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The brief explorations of radiation exposures presented within this essay draw primarily from nuclear art and culture and contribute to the field of nuclear aesthetics, which has long been fixated on the problem of visibility and the representation of nuclear residues. The examples draw primarily from photographic technologies and other aesthetic registers that capture visual residues of radiation. The challenges of nuclear aesthetics are also political and social. This constellation of objects and inquiries is meant to explore the fraught political, environmental, and social relations between radiation, visibility, toxicity, through the concept of exposure. They offer feminist glimpses into other ways of thinking exposure, as it develops in relation to (often imperceptible) toxicity that is not inscribed into a logic that partitions the passive victim of suffering from some pure or unaffected subject. They are examples that are both forms of exposure specific to the nuclear while also, perhaps, helping to expose more nuanced and complex ways of understanding forms of exposure that extend beyond nuclearity.

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"12 The Coming of Age Cindy Sherman, feminism, and art history (2014)." In Photography after Photography, 189–206. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822373629-015.

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"Cindy Sherman confronting feminism and (fashion) photography." In Doing Gender in Media, Art and Culture, 163–74. Routledge, 2009. http://dx.doi.org/10.4324/9780203876800-19.

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"The politics of focus: feminism and photography theory." In New Feminist Discourses, 250–74. Routledge, 2012. http://dx.doi.org/10.4324/9780203120569-24.

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"The politics of focus: feminism and photography theory." In Routledge Library Editions: Women, Feminism and Literature, 250–74. Routledge, 2013. http://dx.doi.org/10.4324/9780203119471-26.

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McGrath, Roberta. "Re-reading Edward Weston - Feminism, Photography and Psychoanalysis." In Illuminations, 261–69. Routledge, 2021. http://dx.doi.org/10.4324/9781003135630-42.

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Hachad, Naïma. "Carolle Bénitah’s Photo-Embroidery." In Revisionary Narratives, 159–91. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620221.003.0005.

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In ‘L’enfance marocaine’ (2009), Carolle Bénitah scans, reframes, and embroiders over black and white family photographs from her childhood in Morocco in the 1960s and 1970s. Chapter 5, analyzes Bénitah’s photo-embroideries, using theories on family photography and its ability to capture traumatic shifts that shape postmodern mentalities, as developed by Roland Barthes ([1980]1981), Marianne Hirsch (1997), Patricia Holland (1991), and Annette Kuhn ([1995] 2002). In tandem with these theorists, I draw on Sam Durrant’s analysis of the postcolonial narrative as a mode of mourning and an action partly meant to come to terms with traumatic historical events, and Mireille Rosello’s notion of ‘reparative mourning’ in her study of the reparative in postcolonial narratives. I read Bénitah’s images as a postmodern narrative that testifies to a fragmented subjectivity, situated at the intersection between public and private history and memory—the artist’s personal story against the backdrop of the twentieth-century history of Morocco and its Jewish community. The chapter analyzes spatial, temporal, visual, and cultural hybridity as a way of working through history while also engaging with transnational feminist strategies women use to undo gender hierarchies naturalized and perpetuated by photography and the family photograph.

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Hachad, Naïma. "Introduction." In Revisionary Narratives, 1–24. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620221.003.0010.

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The introduction discusses the heterogeneity of Moroccan and Moroccan-born women’s self-referential practices and identifies the resources on which they draw, situating the diverse contexts in/from which they emerge. Women’s auto/biographies are products of the historical, sociocultural, and geopolitical contexts they mobilize and negotiate. These contexts dictate not only the content, but also the choice of the medium –writing, photography, body tattoos, embroidery, orality, and digital media. The introduction exposes these dynamics by unveiling the different media, styles, and languages of women’s auto/biographies in context. In doing so, the introductory chapter establishes the transdisciplinarity of my project as well as the critical routes I use to approach the topic including postcolonial and postmodern theories, transnational feminism, autobiography, and testimony.

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Kattan, Lina M. "The Moment of Change." In Under the Skin, 55–70. British Academy, 2020. http://dx.doi.org/10.5871/bacad/9780197266748.003.0005.

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Saudi women artists challenge cultural boundaries to document change in the notions of identity and agency. These artists employ many experimental techniques through unconventional themes while balancing cultural traditions, Saudi heritage, and Islamic identity. This chapter seeks to identify in what ways artists disrupt the commonly–known prohibition regarding figuration as relegated to the art of painting vis–á–vis photography, particularly in figurative depictions. It suggests two types of reality: the spiritual Real that is connected to painting, and the technological real, which is comparable to reality without a soul. It thus demonstrates how the interrelated concepts of art, reality, and the Real can impact values attached to representations of women in Saudi art. The chapter draws upon the frameworks of feminism, postcolonialism, Post–Panofskian iconography, and deconstruction.

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Conference papers on the topic "Feminism and photography"

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Meškova, Sandra. "THE SENSE OF EXILE IN CONTEMPORARY EAST CENTRAL EUROPEAN WOMEN’S LIFE WRITING: DUBRAVKA UGREŠIČ AND MARGITA GŪTMANE." In NORDSCI International Conference. SAIMA Consult Ltd, 2020. http://dx.doi.org/10.32008/nordsci2020/b1/v3/22.

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Exile is one of the central motifs of the 20th century European culture and literature; it is closely related to the historical events throughout this century and especially those related to World War II. In the culture of East Central Europe, the phenomenon of exile has been greatly determined by the context of socialism and post-socialist transformations that caused several waves of emigration from this part of Europe to the West or other parts of the world. It is interesting to compare cultures of East Central Europe, the historical situations of which both during World War II and after the collapse of socialism were different, e.g. Latvian and ex-Yugoslavian ones. In Latvia, exile is basically related to the emigration of a great part of the population in the 1940s and the issue of their possible return to the renewed Republic of Latvia in the early 1990s, whereas the countries of the former Yugoslavia experienced a new wave of emigration as a result of the Balkan War in the 1990s. Exile has been regarded by a great number of the 20th century philosophers, theorists, and scholars of diverse branches of studies. An important aspect of this complex phenomenon has been studied by psychoanalytical theorists. According to the French poststructuralist feminist theorist Julia Kristeva, the state of exile as a socio-cultural phenomenon reflects the inner schisms of subjectivity, particularly those of a feminine subject. Hence, exile/stranger/foreigner is an essential model of the contemporary subject and exile turns from a particular geographical and political phenomenon into a major symbol of modern European culture. The present article regards the sense of exile as a part of the narrator’s subjective world experience in the works by the Yugoslav writer Dubravka Ugrešič (“The Museum of Unconditional Surrender”, in Croatian and English, 1996) and Latvian émigré author Margita Gūtmane (“Letters to Mother”, in Latvian, 1998). Both authors relate the sense of exile to identity problems, personal and culture memory as well as loss. The article focuses on the issues of loss and memory as essential elements of the narrative of exile revealed by the metaphors of photograph and museum. Notwithstanding the differences of their historical situations, exile as the subjective experience reveals similar features in both authors’ works. However, different artistic means are used in both authors’ texts to depict it. Hence, Dubravka Ugrešič uses irony, whereas Margita Gūtmane provides a melancholic narrative of confession; both authors use photographs to depict various aspects of memory dynamic, but Gūtmane primarily deals with private memory, while Ugrešič regards also issues of cultural memory. The sense of exile in both authors’ works appears to mark specific aspects of feminine subjectivity.

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