Relevant bibliographies by topics / Historiography and photography

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Historiography and photography'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2024

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Journal articles on the topic "Historiography and photography"

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Blanchard, Antoine. "Microhistoire des portraits composites: Le cas Arthur Batut (1846-1918)." REVISTA DE HISTORIOGRAFÍA (RevHisto) 27 (November 27, 2017): 287. http://dx.doi.org/10.20318/revhisto.2017.3975.

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Résumé: A partir d’une enquête portant sur le cas du photographe francais Arthur Batut (1846-1918) qui s’est emparé de la technique du composite portraiture de Francis Galton, nous révélerons dans un premier temps l’importance considérable du portrait photographique dans la constitution, à la fin du XIXe siècle, d’une nouvelle image de soi particulière correspondant à une identité “physicalisée”. Pour ce faire, nous mettrons à l’épreuve les questions et la méthode de la microstoria. Dans un second temps, nous envisagerons la possibilité que la technique historiographique de la microstoria elle
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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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Acar, Sibel. "Photography as a means of architectural (re)presentation and (re)production." New Trends and Issues Proceedings on Humanities and Social Sciences 5, no. 6 (2018): 24–33. http://dx.doi.org/10.18844/prosoc.v5i6.3692.

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Architecture and photography have closely interacted with each other since the invention of the photography. Through the 20th century, architectural photographs were utilised for documentation, preservation, historiography, presentation and as a tool of design. Until the turn of the 21st century, the dissemination of architectural photographs was limited by the accessibility of printed media. Today, owing to the digital communication technologies, architectural photographs are being disseminated and circulating rapidly in an unprecedented way. Therefore, not only architectural photographs prod
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Colner, Miha, and Ivan Petrović. "Ivan Petrović, Photographer, Archivist and Artist: Interview with Ivan Petrović." Cabinet, Vol. 2, no. 2 (2017): 4–9. http://dx.doi.org/10.47659/m3.004.int.

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Ivan Petrović (1973) has been working in the fields of photography and art for twenty years as a researcher, creator and collector. Since 1997, he has been creating and publishing photographic projects that reflect the spirit of space and time in which they are created, while in his works he uses both documentary approaches as well as research principles. In 2011, together with photographer Mihail Vasiljević, he founded a para-institution, the Centre for Photography (CEF). Despite lacking its own premises, infrastructure or funds for performing its activities, the institution deals with the se
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Behdad, Ali. "On Photographic Monumentalism: Nineteenth-century Representations of Architectural and Historical Sites." Journal of Material Cultures in the Muslim World 4, no. 2 (2024): 153–69. http://dx.doi.org/10.1163/26666286-12340044.

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Abstract This article addresses the intertwined history of photography and architectural historiography in the nineteenth century. Focusing on European photography of Egyptian antiquity and Palestine’s biblical sites, it elaborates how a commemorative form of historiography deploys photographic images of what came to be known as the “historic monument” to construct notions of patrimony, historical heritage, national identity, and imperial mission. The second part of the essay discusses photographic monumentalism in Qajar, Iran, and Ottoman Turkey as different responses to Orientalist represent
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Lityagina, Alla V. "Photography Business in Urban Western Siberia in the Second Half of the XIX – Early XX Century." SibScript 25, no. 3 (2023): 379–92. http://dx.doi.org/10.21603/sibscript-2023-25-3-379-392.

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Photographic studios provide an excellent example of entrepreneurial activity, as well as a deep insight into the routine and innovations in West-Siberian cities and towns during the modernization period. This article describes the development of photography business in Western Siberia in the second half of the XIX – early XX century. The historiography analysis of this issue showed a rather poor scientific coverage. The study covered the regions of Tomsk, Tyumen, Novosibirsk, Kemerovo, Omsk, and Altai. The article introduces unpublished archival documents and photographs. Archival cases showe
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Anderson, Fay. "Chasing the Pictures: Press and Magazine Photography." Media International Australia 150, no. 1 (2014): 47–55. http://dx.doi.org/10.1177/1329878x1415000112.

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For over a century, press and magazine photography has influenced how Australians have viewed society, and played a critical role in Australia's evolving national identity. Despite its importance and longevity, the historiography of Australian news photography is surprising limited. This article examines the history of press and magazine photography and considers its genesis, the transformative technological innovations, debates about images of violence, the industrial attitudes towards photographers and their treatment, the use of photographs and the seismic recent changes. The article argues
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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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Cozea, Angela. "Proustian Aesthetics: Photography, Engraving, and Historiography." Comparative Literature 45, no. 3 (1993): 209. http://dx.doi.org/10.2307/1771502.

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Turner, Stephen. "The Parasitical Historiography of Ann Shelton's Photography." Australian and New Zealand Journal of Art 15, no. 1 (2015): 37–51. http://dx.doi.org/10.1080/14434318.2015.1047815.

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Dissertations / Theses on the topic "Historiography and photography"

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Fernandez, Eva. "Collaboration, demystification, Rea-historiography : the reclamation of the black body by contemporary indigenous female photo-media artists." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2002. https://ro.ecu.edu.au/theses/741.

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This thesis examines the reclamation of the 'Blak' body by Indigenous female photo-media artists. The discussion will begin with an examination of photographic representatiors of Indigenous people by the colonising culture and their construction of 'Aboriginality'. The thesis will look at the introduction of Aboriginal artists to the medium of photography and their chronological movement through the decades This will begin with a documentary style approach in the 1960s to an intimate exploration of identity that came into prominence in the 1980s with an explosion of young urban photomedia arti
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Acar, Sibel. "Intersections:architecture And Photography In Victorian Britain." Master's thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/3/12611169/index.pdf.

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Architecture and photography have always been closely interacted since the invention of photography in the late 1830s.While architecture has been captured as one of the main subjects of photography, photography has served architecture as a valuable tool of representation. Focusing on the frame defined by Victorian Britain, this study tries to capture intersecting histories between photography and architecture. Accordingly three intersections were defined: the first intersection corresponds to the simultaneous development of photography and architectural photography<br>the second to theinterac
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von, Schantz Tylestam Maria. "Eva Klasson : En analys av verk, karriär och reception." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-24370.

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The Swedish photographer and artist Eva Klasson, based in Paris in the 1970s, gained attention for her series of black-and-white photography of her own naked body, which opened up for an international artistic career in the late 1970s. Despite a promising career she however abandoned photography and disappeared from the artistic sphere only a few years after her debut. There has been a renewed interest in Klasson’s work in Sweden the last decade where she has been exhibited at museums and galleries. Today she is represented at art museums and institutions including Moderna Museet, The Modern M
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Görgen, Carolin. "Out here it is different - The California Camera Club and community imagination through collective photographic practices : toward a critical historiography, 1890-1915." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCC010/document.

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Le California Camera Club, un collectif de photographes amateurs et professionnels actif à San Francisco notamment entre 1890 et 1915, est une organisation constamment marginalisée dans l’histoire de la photographie et de l’Ouest américain. En adoptant une double approche d’histoire culturelle et matérielle, cette thèse éclaire une gamme d’activités et de productions de ce club largement inconnu, qui ont contribué à forger l’identité d’une communauté éloignée de l’Ouest. Par son approche inclusive, réunissant plus de 400 membres en 1900, le club doit être considéré comme une organisation local
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Qader, Shahram. "Konst och exil : En undersökning av Shirin Neshats fotografi och videokonst i relation till exil." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-27445.

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The Iranian artist Shirin Neshat has been living in self-imposed exile since the late 1970s, as she chose not to return to her home country following the ‘79 Islamic Revolution. Through her works Neshat examines Iran before and after the revolution and follows political and civil transformations through strong photographs of women in her country of birth.  My own use of the term exile deals with the analysis of the state of exile in relation to artistic work as a globalized and underlying motivation for art and artists. The new definition of exile is analyzed in relation with the artist’s phot
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Oliveira, Valter Gomes Santos de. ""Offereço meu original como lembrança" circuito social da fotografia nos sertões da Bahia (1900-1950)." Faculdade de Filosofia e Ciências Humanas, 2014. http://repositorio.ufba.br/ri/handle/ri/17559.

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Submitted by Oliveira Santos Dilzaná (dilznana@yahoo.com.br) on 2015-04-29T14:07:26Z No. of bitstreams: 1 Dissertação de Valter Gomes Santos de Oliveira.pdf: 15128159 bytes, checksum: 41cf77e548a87414e5ae888b2451357d (MD5)<br>Approved for entry into archive by Patricia Barroso (pbarroso@ufba.br) on 2015-05-05T14:20:09Z (GMT) No. of bitstreams: 1 Dissertação de Valter Gomes Santos de Oliveira.pdf: 15128159 bytes, checksum: 41cf77e548a87414e5ae888b2451357d (MD5)<br>Made available in DSpace on 2015-05-05T14:20:09Z (GMT). No. of bitstreams: 1 Dissertação de Valter Gomes Santos de Oliveira.pdf:
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Moylan-Brouff, Glenda Silko Leslie Marmon. "Writing counter-histories of the Americas Leslie Marmon Silko's 'Almanac of the Dead' /." Access electronically, 2004. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060314.105816/index.html.

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Agnese, Roberta. "Politiques de la fiction dans les images documentaires. Présentisme et photographie." Thesis, Paris Est, 2019. http://www.theses.fr/2019PESC0059.

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Cette thèse en philosophie esthétique porte sur le statut de la photographie, et plus précisément sur sa capacité à documenter, ainsi que sur les régimes de temporalité qu’elle mobilise dans ses stratégies documentaires. Elle s’inscrit dans le cadre des études visant à analyser liens entre la photographie et l’histoire, et son ambition est de se positionner dans le champ d’une « philosophie de la photographie » ayant comme but celui de comprendre les enjeux cognitifs et épistémologiques de ce médium. Le champ de l’enquête a été formulé à partir de l’œuvre de Walid Raad, et a été ensuite élargi
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Viraben, Hadrien. "Le savant et le profane : documenter l'impressionnisme en France, 1900-1939." Thesis, Normandie, 2018. http://www.theses.fr/2018NORMR095.

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En 1946, la parution à New York de l’Histoire de l’impressionnisme de John Rewald consacra l’aura d’une historiographie scientifique du mouvement, cautionnée par un investissement documentaire. Cette qualité l’opposait à un monde profane, dominé par une tradition orale et en particulier la réputation de certains témoignages. Un examen attentif ne saurait pourtant donner raison au postulat d’une nature exclusivement savante du document. Une documentation impressionniste se constitua en effet, dès le début du XXe siècle, par l’intermédiaire de producteurs hétéroclites, artistes, témoins, héritie
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Strandroth, Cecilia. "In search of the pure photograph : a historiographic study of the Farm Security Administration, Walker Evans, and the survey histories of photography /." Uppsala : Fronton, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-8347.

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Books on the topic "Historiography and photography"

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Nickell, Joe. Camera clues: A handbook for photographic investigation. University Press of Kentucky, 1994.

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Halwani, Miriam. Geschichte der Fotogeschichte: 1839-1939. Reimer, 2012.

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Lima, Solange Ferraz de. Fotografia e cidade: Da razão urbana à lógica de consumo : álbuns de São Paulo, 1887-1954. Mercado de Letras, 1997.

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1930-, Brückner Wolfgang, ed. Äusserst getroffen und schön: Historische Fotografie in Unterfranken : Begleitband zur gleichnamigen Ausstellung des Instituts für Deutsche Philologie der Universität, des Bezirks Unterfranken und der Stadt Würzburg vom 25. Oktober bis 30. November 1989 in den Greisinghäusern Würzburg. Echter, 1989.

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Steiner, Aline. Arno Gisinger - topoï: [expositions, Museum für Photographie Braunschweig, 08.11.2012 - 06.01.2013]. Trans Photographic Press [u.a.], 2013.

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Mraz, John. Envisioning Mexico: Photography and national identity. Duke-University of North Carolina Program in Latin American Studies, 2001.

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História & fotografia. Autêntica, 2003.

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Wittlich, Filip. Fotografie - přímý svědek?!: Fotografický obraz a jeho význam pro historické poznání. NLN, s.r.o., 2012.

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Sirkku, Dölle, and Finland Museovirasto, eds. Kuvat kunniaan. 2nd ed. Museovirasto, 1989.

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Mauad, Ana Maria. Poses e flagrantes: Ensaios sobre história e fotografias. EdUFF, Editora da Universidade Federal Fluminense, 2008.

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Book chapters on the topic "Historiography and photography"

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Hood, Stephanie L. "Science, Photography, and Objectivity? Exploring Nineteenth-Century Visual Cultures through the HMS Challenger Expedition (1872–1876)." In Scientific Visual Representations in History. Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-11317-8_9.

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AbstractPreparing to set off from England in 1872 on an oceanographic expedition around the globe, the officers and crew of HMS Challenger gathered on board the ship for a photographic portrait. It was one of the first photographs of crew on a scientific voyage of exploration ever taken. Over eight hundred photographs were taken or acquired on the Challenger in addition to drawings and paintings. This chapter uses these photographs to reexamine Daston and Galison’s theory that photography was successful in nineteenth-century science on account of its perceived “objectivity” as an epistemic ideal. The chapter first outlines the history and historiography of photography and of the Challenger expedition, proceeding to outline photographic practices on the voyage, and evaluating the photographs’ place within longer aesthetic traditions. It then examines the Challenger photographs’ circulation and use in its official scientific report, and in wider scientific contexts. The chapter finally analyzes the photographs’ personal, and then broader public, economic, and political circulation and uses. It concludes by arguing that drawing and painting were the preferred scientific visual strategies on the Challenger, indicating that photography was not preferred on account of its perceived “objectivity” for science. Instead, photographs afforded other benefits such as speed of capture, replicability, and adaptability—for economic, social, and political use as well as scientific. Photography was therefore an effective visual strategy not on account of its perceived scientific “objectivity” but due to its flexibility, which corresponded to the expedition’s scientific aims as well as its broader economic, social, and political context.
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Febvre, Emilie Le. "Naqab Bedouin Social History and Historiography." In Photography and Making Bedouin Histories in the Naqab, 1906-2013. Routledge, 2023. http://dx.doi.org/10.4324/9781003185703-3.

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"Chapter 1. Photography and historiography." In Fragments, Futures, Absence and the Past. transcript-Verlag, 2016. http://dx.doi.org/10.14361/9783839436240-002.

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"Chapter 1. Photography and historiography." In Fragments, Futures, Absence and the Past. transcript Verlag, 2016. http://dx.doi.org/10.1515/9783839436240-002.

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Kunard, Andrea, and Carol Payne. "Writing Photography in Canada: A Historiography." In The Cultural Work of Photography in Canada. McGill-Queen's University Press, 2011. http://dx.doi.org/10.1515/9780773585720-018.

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Hauser, Kitty. "Tracing the Trace: Photography, the Index, and the Limits of Representation." In Shadow Sites. Oxford University Press, 2007. http://dx.doi.org/10.1093/oso/9780199206322.003.0007.

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Photography, as is well known, is the image-making technology which specializes in the freezing of time.1 What kind of historiography, then, might photography be said to embody? How can photography, with its ineluctable connection to the present moment, hope to say anything at all about the past—about either the broad processes of history or even the events of the hours and minutes immediately preceding the second in which the photograph is taken? What kinds of knowledge of the past does photography allow, and what does it disallow? How can photography, that most superficial of media, hope to become a vehicle for the archaeological imagination, with its love of immanent depths? If photographic technology is uniquely equipped to record (visually) the present moment, it is also characterized—famously—by its thorough and indiscriminate recording of surface detail. What it lacks in temporal depth it makes up for in this meticulous rendering of appearances; any surface marked by the effects of action or time can be faithfully recorded by this technology which itself produces the marked surfaces of photographic plate, film, or print. History and the passing of time is available to photography only in the form of its traces, the more-or-less legible marks and remnants it has left behind at any one moment in the world. And it is precisely photography’s own nature as a chemical trace (until digitization, at least) that enables it accurately to reproduce these marks and signs of history. As discussed in Chapter 1, since the nineteenth century (at least) historical sciences such as palaeontology, geology, and archaeology have based themselves upon the reading of such signs of the past in the present, and this broad epistemological model could be extended to include military reconnaissance, forensic science, and art connoisseurship. Photography, fixing these signs in an image, has had—unsurprisingly, perhaps—an important part to play in the historical development of these disciplines. Photography meets the archaeological imagination as soon as photographic images are scanned for historical information in these disciplines and practices. In a sense, however, photography cannot help but represent the world archaeologically, since it cannot help but record its objects and landscapes in a temporal context, the traces of the past scattered across their surfaces. Ruskin enthused over this quality of the new medium.
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Schröter, Jens. "Lippmann Photography and the Problems of Media Historiography." In Gabriel Lippmann's Colour Photography. Amsterdam University Press, 2022. http://dx.doi.org/10.2307/j.ctv2r4kxgt.8.

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Schröter, Jens. "Lippmann Photography and the Problems of Media Historiography." In Gabriel Lippmann's Colour Photography. Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463728553_ch05.

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Lippmann photography is the first imaging technology to exploit waveoptical effects. It forces a revision of media-historical models, such as the approach of Jonathan Crary, which is based solely on the emergence of physiological optics around 1820. First, this leads to a differentiated model of the history of optical media. Second, Lippmann photography, through its practical obsolescence and its reappearance in discourses on security technologies at the end of the 1990s, raises fundamental questions about the relationship between media technologies and practices. The same applies to the second development in the field of optical media, which is centrally based on wave optics, namely holography. This paper aims to trace and discuss theoretically the history of knowledge of wave-optical images based on wave optics media and its implications.
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Schröter, Jens. "5. Lippmann Photography and the Problems of Media Historiography." In Gabriel Lippmann's Colour Photography. Amsterdam University Press, 2022. http://dx.doi.org/10.1515/9789048554010-006.

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"3. Eye witness: On photography and historiography." In A Different Light. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822394372-005.

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