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Journal articles on the topic 'History and Theory of Photography'

Author: Grafiati

Published: 3 June 2025

Last updated: 31 July 2025

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1

Kanicki, Witold, and Geoffrey Batchen. "Magical Thinking: Conversation with Geoffrey Batchen." Magic, Vol. 5, no. 1 (2020): 4–9. http://dx.doi.org/10.47659/m8.004.int.

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His long-standing interest in the history of early photography makes Geoffrey Batchen the appropriate speaker to discuss the question of photographic magic. Therefore, our conversation oscillates between magic and realism, but also other antonyms within the medium: negative and positive, analogue and digital. Taking in consideration all these oppositional notions, Batchen suggests that theoreticians “need to acknowledge and embrace photography’s abstractions and contradictions”. Different contradictions within photography’s theory and history became pivotal in our conversation. We also discuss

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Kloster Poulsen, Steffen. "Når eksplosioner er kunst." Periskop – Forum for kunsthistorisk debat, no. 31 (June 13, 2024): 100–115. http://dx.doi.org/10.7146/periskop.v2024i31.146623.

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This article argues for an expanded effort to search for, and actively utilize, concepts and methods from the sociolinguistic periphery of the otherwise anglocentric academic lit- erature on photography in order to achieve a more level playing field between vernacular concepts and purportedly universal ones. Taking the history of public debate on photo- graphy in Japan as a departure point, this article aims to map out a new area of explora- tion for photographic research in the academic field of art history. Japan has been home to a vivid public and intellectual debate on photography since th

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Witkovsky, Matthew S. "Photography as Model?" October 158 (October 2016): 7–18. http://dx.doi.org/10.1162/octo_a_00267.

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Witkovsky argues that decades into photography's institutional acceptance as art, widespread inadequacies remain in the art historical treatment of photographs, which can no longer be defended as manifestations of a separate or distinctive “medium.” Insufficient attention to formal procedures, such as darkroom interventions between the stages of negative and print, as well as to disciplinary history—including the introduction of the very term “medium” in photographic discourse around 1930—remain commonplace. Yet despite a persistent tendency to totalize photography as a creative domain, photog

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Battin, Justin Michael. "Explorations on the Event of Photography: Dasein, Dwelling, and Skillful Coping in a Cuban Context." Review of International American Studies 15, no. 2 (2022): 49–70. http://dx.doi.org/10.31261/rias.14868.

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In the summer of 2016, the author traveled to Havana to begin preliminary work on an interdisciplinary visual ethnography project. While venturing primarily on foot, he took hundreds of high-resolution photographs and interviewed people at random across several localities about their daily routine, their neighborhood, and their expectations about what was to come following the [then] normalizing of relations with the United States. Of the utmost importance to this work was the special attention granted to the inhabited locale where each photograph and interview took place. This article explore

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Baker, George. "Sharing Seeing." October 174 (December 2020): 163–75. http://dx.doi.org/10.1162/octo_a_00412.

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In 2007, artist Sharon Lockhart made a large-scale photograph of two young girls reading braille, based on a specific photograph by August Sander from the 1930s made in an institute for blind children. Turning to the widespread iconography of blindness in the history of photography, this essay considers the importance of such images for a larger theory of photographic spectatorship. Lockhart's image of blind children relates to Sander's photograph, but does not duplicate it in all respects; her alteration of the historical image opens onto the larger non-coincidence of vision that photographic

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Stafford, Andy. "Bazin and Photography in the Twenty-First Century: Poverty of Ontology?" Paragraph 36, no. 1 (2013): 50–67. http://dx.doi.org/10.3366/para.2013.0077.

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According to André Rouillé (2005) the search for photography's ontology is both fruitless and pointless. Six decades after André Bazin's seminal essay, ‘The Ontology of the Photographic Image’ (1945), there is a concerted attempt to remove photography from the ‘reliquary’ of death in which Bazin had (seemingly) locked it. Preferring ‘genesis’ to ‘result’, Bazin had suggested that photography benefited from an ‘essential objectivity’ and that it was close to being a ‘natural phenomenon’: for the first time in history, representation of the external world emerges, mechanically, without human int

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McQuire, Scott. "Medium Rare. Photography and Media Theory." Media Theory 8, no. 1 (2024): 19–52. http://dx.doi.org/10.70064/mt.v8i1.1067.

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Photography’s definition as a distinctive medium has often been contested, but seems increasingly challenged in foundational terms in the 21st century. This article will explore photography’s rather unsettled relation to media and media theory by drawing on the writings of Vilém Flusser, Friedrich Kittler, and Bernard Stiegler, who have all — albeit in different ways — positioned the emergence of photography in the 19th century as a signal event in the history of media. Photography marks the point at which cultures long organized around ‘writing’ began to cede ground to cultures in which ‘tech

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Wakelin, Daniel. "A New Age of Photography: ‘DIY Digitization’ in Manuscript Studies." Anglia 139, no. 1 (2021): 71–93. http://dx.doi.org/10.1515/ang-2021-0005.

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Abstract Since c. 2008 many special collections libraries have allowed researchers to take photographs of medieval manuscripts: this article calls such self-service photography ‘DIY digitization’. The article considers some possible effects of this digital tool for research on book history, especially on palaeography, comparing it in particular to the effects of institutionally-led digitization. ‘DIY digitization’ does assist with access to manuscripts, but less easily and with less open data than institutional digitization does. Instead, it allows the researcher’s intellectual agenda to guide

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Tom, Martin, and Balaji Ranganathan. "Beyond the Frame: Exploring Dimensions of Colonial Photography in India." Shanlax International Journal of Arts, Science and Humanities 11, no. 3 (2024): 91–97. http://dx.doi.org/10.34293/sijash.v11i3.6913.

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The paper “Beyond the Frame: Exploring Dimensions of Colonial Photography in India” delves into the multifaceted dimensions of photography’s inception in India during the colonial era. Investigating photography as both an art form and a technological import by the British, it explores its role in representing and often misrepresenting India and its people. Focusing on early pioneers such as the Daniel brothers, Fox Talbot, Louis Daguerre, and Monsieur Montaino, the paper discusses the challenges of early photographic techniques and their evolution. It highlights figures like Linnaeus Tripe, Jo

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Mavrokordopoulou, Kyveli. "Images of Pollution and the Pollution of Images." Environmental Humanities 17, no. 1 (2025): 107–28. https://doi.org/10.1215/22011919-11543431.

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Abstract The photographic image has been a loyal companion to environmental movements far and wide, yet a closer look at the contemporaneous appearance of photography and industrialism complicates that dependence. This article examines contemporary artistic representations of postindustrial landscapes through their entanglement with the history and materiality of photography. Drawing on elemental media theory as well as the history of science, it traces two key moments in the history of photography through two material components: bitumen and uranium. By suggesting the visual and the material

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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 (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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Holzberger, Helena. "National in Front of the Camera, Soviet Behind It: Central Asia in Press Photography, 1925–1937." Journal of Modern European History 16, no. 4 (2018): 487–508. http://dx.doi.org/10.17104/1611-8944-2018-4-487.

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National in front of the Camera, Soviet behind it: Central Asia in Press Photography, 1925–1937 While photography in early Soviet Union is a well-researched field, researchers addressed hitherto mostly Soviet Russia. The history of photography in the Central Asian Soviet Republics, though, lacks research. This article focuses on the means of production and distribution of photographs taken in Uzbekistan 1926–1937. With Roland Barthes theory of «connotation», it interprets the visual invention of the Soviet Orient. Photographs by Georgij Zel'ma and Maks Penson of Uzbekistan that were published

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Harrison, Barbara. "Photographic visions and narrative inquiry." Narrative Inquiry 12, no. 1 (2002): 87–111. http://dx.doi.org/10.1075/ni.12.1.14har.

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This paper examines the ways in which photographic images can be used in narrative inquiry. After introducing the renewed interest in visual methodology the first section examines the ways in which researchers have utilised the camera or photographic images in research studies that are broadly similar to forms of narrative inquiry such as auto/biography, photographic journals, video diaries and photo-voice. It then draws on the published literature in relation to the author’s own empirical research into everyday photography. Here the extent to which the practices which are part of everyday pho

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Yacavone, Kathrin. "The Cultural Institutionalization of Photography in France: A Brief History." Nottingham French Studies 53, no. 2 (2014): 122–35. http://dx.doi.org/10.3366/nfs.2014.0080.

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This article provides a historical overview of the cultural institutionalization of photography in France, with a particular focus on the pioneering initiatives of individual photography enthusiasts throughout the 1970s to promote photographic culture. These efforts were roughly simultaneous with changes in acquisition and exhibition practices on the part of fine art museums and collections with respect to photography, in response to an increasing world-wide recognition of its status as an art form. The article explains how, despite the promotion of photography as a French invention and a cont

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Jennings, Michael W. "The Mausoleum of Youth: Between Experience and Nihilism in Benjamin's Berlin Childhood." Paragraph 32, no. 3 (2009): 313–30. http://dx.doi.org/10.3366/e0264833409000662.

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Key sections of Walter Benjamin's montage-text Berlin Childhood around 1900 figure the relationship between human experience and modern media, with the sections that frame the text, ‘Loggias’ and ‘The Moon’, structured around metaphors of photography. Drawing on the work of Siegfried Kracauer, and especially his seminal essay ‘Photography’, Benjamin develops, in the course of his book, a theory of photography's relationship to experience that runs counter to the better-known theories developed in such essays as ‘Little History of Photography’ and ‘The Work of Art in the Age of its Technologica

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Suga, Keijiro. "Looking Back at the Phenomenocene." boundary 2 46, no. 3 (2019): 117–18. http://dx.doi.org/10.1215/01903659-7614171.

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This essay is conceived as a supplement to Masao Miyoshi’s only book of photography. Miyoshi was an avid traveler and photographer all his life. He called his practice “anti-photography” and left a book titled This Is Not Here (2009). His photographic images are interesting in many ways, surprisingly fresh and often beyond words. But what is essential about photography is the fact that photography is never controllable. Photography, by its nature, is anti-ethics and anti-aesthetics. My thoughts are about the world of phenomena, appearances, and bodiless ghosts. These come in a thousand layers

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ROTH, MICHAEL S. "WHY PHOTOGRAPHY MATTERS TO THE THEORY OF HISTORY." History and Theory 49, no. 1 (2010): 90–103. http://dx.doi.org/10.1111/j.1468-2303.2010.00530.x.

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Dorofeeva, Yuliya, and Aleksey Moiseev. "Systematization of theory and methodology for teaching advertising and portrait photography based on the Russian experience." E3S Web of Conferences 210 (2020): 18112. http://dx.doi.org/10.1051/e3sconf/202021018112.

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This article aims at systematizing the key methods, principles, and approaches that underlie the proprietary integrated methodology for teaching advertising and portrait photography. Summarizing the authors’ wealth of educational expertise and successful experiments in teaching photography in Russia has become the primary objective of this article. The main research methods we employed were as follows: comparative analysis and pedagogical experiment (ascertaining, searching, educational). Findings: Essential aspects of the proprietary integrated methods of teaching advertising and portrait pho

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Mountfort, Paul. "Defending the Candid Gaze: Theory, the Archive, and Depolicing Street Photography." Journal of Asia-Pacific Pop Culture 9, no. 1 (2024): 4–27. http://dx.doi.org/10.5325/jasiapacipopcult.9.1.0004.

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Abstract Since practically the dawn of photography, there have been concerns over street photography’s invasive and potentially exploitive nature, from late nineteenth-century tropes of pests and “sneaky characters” trailing women in public parks to more recent panics over “camera fiends” and even state security warnings of the need to be vigilant of photographers potentially casing infrastructure for terrorist attacks. This article argues, using potted history and critical theory, that such straw-man arguments distract from the real dangers that the policing and curtailment of public photogra

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Smith, L. "7 * Photography Theory." Year's Work in Critical and Cultural Theory 14, no. 1 (2006): 134–42. http://dx.doi.org/10.1093/ywcct/mbl007.

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Smith, L. "14 * Photography Theory." Year's Work in Critical and Cultural Theory 16, no. 1 (2008): 325–37. http://dx.doi.org/10.1093/ywcct/mbn015.

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Brown, Terry M. "Transcending the colonial gaze: Empathy, agency and community in the South Pacific photography of John Watt Beattie1." Journal of New Zealand & Pacific Studies 8, no. 2 (2020): 151–70. http://dx.doi.org/10.1386/nzps_00035_1.

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For three months in 1906, John Watt Beattie, the noted Australian photographer – at the invitation of the Anglican Bishop of Melanesia, Cecil Wilson – travelling on the church vessel the Southern Cross, photographed people and sites associated with the Melanesian Mission on Norfolk Island and present-day Vanuatu and Solomon Islands. Beattie reproduced many of the 1500-plus photographs from that trip, which he sold in various formats from his photographic studio in Hobart, Tasmania. The photographs constitute a priceless collection of Pacific images that began to be used very quickly in a varie

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Zervigón, Andrés Mario. "The Peripatetic Viewer at Heartfield's Film und Foto Exhibition Room." October 150 (October 2014): 27–48. http://dx.doi.org/10.1162/octo_a_00199.

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The traveling exhibition Film und Foto, inaugurated in 1929 by the famous German Werkbund association, stands as a critical landmark in the exhibition of modernist photography and film. Yet walking through its inaugural venue, in Stuttgart, was as much like flipping through an instructional photo essay as navigating an exhibition space. The first of the show's thirteen rooms, for example, offered a large number of prints that recapitulated the history of photography, or more specifically the history of its practical use. Displayed on sleek scaffolds that efficiently expanded the available exhi

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Gallagher, Jean. "Episodes in the History of Photography." English Language Notes 44, no. 2 (2006): 283–90. http://dx.doi.org/10.1215/00138282-44.2.283.

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Michałowska, Marianna. "Invisible Presence of the Past: Hauntology of Photography." Magic, Vol. 5, no. 1 (2020): 80–85. http://dx.doi.org/10.47659/m8.080.art.

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Photography has been associated with the specter, spirit, and the apparition ever since the theory of photography first emerged. André Bazin and Edgar Morin saw the spectral features of photography as the basis for phenomenological interpretation. However, the most creative exposition of ghosts in photography is linked to Jacques Derrida’s concept of hauntology. Nowadays, hauntology is often cited in relation to nostalgia – longing for “the lost futures”. However, when Derrida wrote Specters of Marx in 1993, he was interested in the ontological repetition of ideas through history. Photographs

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Horevalov, Serhiy, and Natalia Zykun. "Photography and Development of Photo Industry in Ukraine: History and Modernity (to the 180th Anniversary of Photography)." Scientific notes of the Institute of Journalism, no. 1 (76) (2020): 53–65. http://dx.doi.org/10.17721/2522-1272.2020.76.4.

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In the article the multi-subject phenomenon of photography, which clearly combines the fea-tures of a document, a work of art, modern technologies and a means of communication is stud-ied in the diachronic aspects using the methods of comparative analysis, systematization and generalization. It summarizes the information about the long history of photography as a form of fixation of reality, as a way of storing and transmitting information. The changes in functional and instru-mental characteristics of photography are outlined. The rapid expansion of the direction of development of photography

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Yuan, Lei. "Hand and Eye: Study on the Relationship between Painting and Photography from Benjamin's Perspective." International Journal of Arts and Humanities Studies 4, no. 1 (2024): 09–13. http://dx.doi.org/10.32996/ijahs.2024.4.1.2.

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The birth of printing brought great changes to literature, and the continuous fragmentation of printmaking media allowed pictorial art products to flow into the market. However, no one could have imagined that just a few decades later, the birth of photography would remove the human hand from the main artistic task of image reproduction, which would henceforth be reserved for the eyes staring at the lens. Walter Benjamin, as an early scholar among Western intellectuals in the 20th century, paid attention to the study of the relationship between photography and painting. The Small History of Ph

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Jokanović, Milena. "PERSISTENCE OF PICTORIAL MEMORY: PHOTO ARCHIVES OF ARTISTS IN THE DIGITAL AGE." Limes-Plus 20, no. 3 (2022): 97–120. http://dx.doi.org/10.69899/limes-plus22203097j.

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Тhis paper analyzes the phenomenon of artists’ photo archives in the modern age of digital photography and new media. The last two decades have seen the rise of a special type of artist who collects old, analog photographs and creates particular archives. Like modern walkers, strolling through the city, but also through flea markets and garbage piles, where they collect various objects, these artists collect disposed old photographs, witnesses of personal memories left to oblivion. The very aesthetics of selected images, most often in black and white, developed on photo paper or cardboard with

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Assymova, D. B. "VISUAL HISTORY OF FAMILY PHOTOS OF KAZAKHSTAN IN THE SECOND HALF OF THE XX CENTURY." History of the Homeland 99, no. 3 (2022): 19–27. http://dx.doi.org/10.51943/1814-6961_2022_3_19.

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This article analyzes the influence of historical aspects on the concept of family, social and emotional relations of the institution of the family, based on the consideration of family photo albums of Kazakhstan in the second half of the XXth century. The article deals with the main issues of family history, focusing on identifying their main goals and interests in family photography. Photography focuses on three areas in which most historical research is carried out today: the structure of the family and household, the group of relatives, the course of life, and the relationship between the

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Zawojski, Piotr. "A difficult history of light. About metaphysical ideas of “light writing” formulated before the birth of photography." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 30, no. 39 (2021): 281–95. http://dx.doi.org/10.14746/i.2021.39.14.

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The reflections presented in this article are devoted to Junko Theresa Mikuriya’s book, A History of Light. The Idea of Photography. It is a unique view on the search for pre-photographic origins of photography in the field of philosophical writings ranging from Plato, through the neoplatonic philosopher Jamblich’s enquiry, to the texts by Philotheus of Batos and by an early Renaissance philosopher, Marsilio Ficino. When thinking about metaphysics present in (moving and still) images, one should not forget about the metaphysics of the image itself. The idea of photography – regardless of wheth

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Zawojski, Piotr. "Fotografia i film w praktyce artystycznej oraz propozycjach teoretycznych Davida Hockneya." Artium Quaestiones 31, no. 1 (2020): 101–22. http://dx.doi.org/10.14746/aq.2020.31.4.

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In his diverse works, David Hockney has used, and still uses, various media, which in some periods of his activity gained leading significance, while in the following they were abandoned or temporarily abandoned. But no matter what medium in the given period was the main form of creativity, the focus of his interest has always been the issue of image and imaging. The article is devoted to the practice and theoretical recognition of photography, which was a kind of introduction to experiments with a moving image. The author refers to the artist's numerous publications on the theory and history

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Jordan, Shirley. "Not Yet Fallen: Memory, Trace and Time in Stéphane Couturier's City Photography." Nottingham French Studies 53, no. 2 (2014): 169–85. http://dx.doi.org/10.3366/nfs.2014.0084.

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Harnessing concepts related to memory, trace, time and the archive, this article examines in detail the highly distinctive city photography of French photographer Stéphane Couturier. It focuses on the ways in which two of Couturier's major series, Archéologie urbaine (1994–2010) and Melting Point (2005–13), investigate the fabric of urban environments in Europe and beyond, concentrating in the first case on heritage layers and pockets of demolition or reconstruction, and in the second on the pervasive modular architecture of urban and peri-urban blocks. The article analyses the tension in Cout

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Gallus-Price, Sibyl. "Why Photography Mattered (1847) As Art More Than Ever Before." Praktyka Teoretyczna, no. 4(50) (March 28, 2024): 51–74. http://dx.doi.org/10.19195/prt.2023.4.3.

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In the late 20th-century, landscape photographs that were never meant as art come to play a central role in the critique of one notion of what art is. Rosalind Krauss begins her attack on Modernism by mobilizing the indexical qualities of the photograph, holding up Timothy O’Sullivan’s 19th-century landscape photographs as the exemplar. This essay considers Krauss’s model in relation to César Aira’s contemporary revival of the 19th century landscape painter Johann Moritz Rugendas who is conceived, I argue, under the sign of the photograph. Conceptually recasting the landscape— the locus class

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Van Trigt, Paul, and Susan Legêne. "Writing Disability into Colonial Histories of Humanitarianism." Social Inclusion 4, no. 4 (2016): 188–96. http://dx.doi.org/10.17645/si.v4i4.706.

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In this paper, the relation between humanity and disability is addressed by discussing the agency of people with disabilities in colonial histories of humanitarianism. People with disabilities were often—as indicated by relevant sources—regarded and treated as passive, suffering fellow humans, in particular in the making and distribution of colonial photography. In the context of humanitarianism, is it possible to understand these photographs differently? This paper analyzes one photograph—from the collection of the Tropenmuseum Amsterdam—of people with leprosy in the protestant leprosarium Be

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Khoza, Bongani Joseph, and Nompilo Tshuma. "Photography Education in Resource-Constrained Contexts." International Journal of Mobile and Blended Learning 14, no. 3 (2022): 1–13. http://dx.doi.org/10.4018/ijmbl.313974.

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The history, development, products, and impact of image-making are well-represented in literature. The literature looks extensively at the technological developments and advancements in the field and how photography has contributed to our understanding of historical, political and social tensions. However, the training and preparation of photographers has received less attention in the literature, particularly in photography education in resource-constrained contexts. This paper seeks to present mushfaking as a conceptual framework that addresses the multi-literacies required in photography ed

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Yoon, Hyewon. "Lisette Model: Another Frankfurt School Photographer in New York." October, no. 185 (2023): 30–49. http://dx.doi.org/10.1162/octo_a_00491.

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Abstract This essay examines the portrait work of the Austrian-American photographer Lisette Model, with a special focus on her representation of the American lumpenproletariat in the Reflections series, Model's first after coming to New York in 1938 as an Austrian-French Jewish émigré, and in her Bowery portrait series. Within the history of American postwar photography, Model stands as a salient figure, a pioneer who located and defined the issues, options, and contradictions of photography as an artistic practice in the “New York School of photography.” Model's rendering of her subjects as

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Humphreys, Kathryn. "Looking Backward: History, Nostalgia, and American Photography." American Literary History 5, no. 4 (1993): 686–99. http://dx.doi.org/10.1093/alh/5.4.686.

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Bojarska, Katarzyna. "Traumatic Female Gaze: Julia Pirotte Looking at the Kielce Pogrom." Arts 12, no. 6 (2023): 239. http://dx.doi.org/10.3390/arts12060239.

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In this article, I analyze Julia Pirotte’s photographs of the immediate aftermath of the Kielce pogrom as a resource for conceptualizing the relationship between trauma and photography, gendered ways of seeing, memory and trauma, body and archive, vision and death, death and the archive, images and history, survival, and destruction. These specific atrocity pictures make a difference to contemporary conceptions of trauma photography and the female gaze in relation to racist, political violence. I work with theories that go beyond thinking about trauma and photography based on the Lacanian conc

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Oushakine, Serguei Alex. "Presence Without Identification: Vicarious Photography and Postcolonial Figuration in Belarus." October 164 (May 2018): 49–88. http://dx.doi.org/10.1162/octo_a_00323.

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This article explores photographic works produced by key members of the Minsk School of Photography before and after the collapse of the USSR in the 1980s and 1990s. Mostly reworking found images from the Soviet past, these artists employed the visual language of that period to disassociate themselves from Soviet practices of photographic recording. Appropriating conventions of the portrait genre, the Minsk photographers used them to create a stream of obfuscated representations in which individuals are presented devoid of their originary contexts, biographies, and, frequently, faces. Through

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Cadava, Eduardo. "Words of Light: Theses on the Photography of History." Diacritics 22, no. 3/4 (1992): 84. http://dx.doi.org/10.2307/465268.

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Baxter, Jeannette. "Radical Surrealism: rereading photography and history in J.G. Ballard'sCrash." Textual Practice 22, no. 3 (2008): 507–28. http://dx.doi.org/10.1080/09502360802264673.

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

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Szymanowicz, Maciej. "W poszukiwaniu „narodowości w fotografice”." Artium Quaestiones, no. 28 (May 22, 2018): 65–86. http://dx.doi.org/10.14746/aq.2017.28.3.

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In Search for the “National Features in Photography” Summary The main point of the paper is the interest of Polish photographers in nationalist ideas, which has long been one of the forgotten and overlooked episodes in the history of twentieth-century Polish photography. The issue appeared for the first time in 1931-1933, when Polish photographic magazines published a debate about revealing national traits in a photo. It was an aftermath of the idea of the national style in Polish art, promoted since the early 1920s in relation to the needs of the state that just became independent. The greate

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Ning, He. "The Bricolage of Words and Images." boundary 2 47, no. 3 (2020): 185–92. http://dx.doi.org/10.1215/01903659-8524505.

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This essay discusses the role of photographs in Sebald’s Austerlitz. The author argues that photographs constitute a crucial paratext to the entire narrative, making possible the representation of traumatic memories through “the bricolage of words and images.” Engaging with Freudian psychoanalysis and Roland Barthes’s theory on photography, the author demonstrates how the process of retrieving memories and recovering from trauma can be achieved through “bricolage.” In doing so, this essay sheds light on the unique narratology conveyed through Sebald’s quasi-realistic lens.

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Stapff, Andrés. "Fotografía de Andrés Stapff." Dixit, no. 17 (September 18, 2012): 49–54. http://dx.doi.org/10.22235/d.v0i17.357.

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Andrés Stapff (Montevideo, 1972) es fotógrafo de la agencia de noticias Reuters en Uruguay desde 1999. Desde allí ha participado en varias coberturas de una amplia variedad de acontecimientos en diferentes situaciones y países tales como la crisis política y económica en Argentina durante el 2001 y 2002, la Copa América en Colombia, Perú y Argentina, los Juegos Panamericanos de Brasil, cumbres de las Américas y del G20, mundiales de fútbol y otros deportes, además de varios procesos eleccionarios en Uruguay y el resto de América Latina. Sus fotos han sido publicadas en medios nacionales y del

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Zawojski, Piotr. "The Invisible World of Images. From “Nonhuman” to “Undigital” Photography in Joanna Zylinska’s Reflections." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 31, no. 40 (2023): 13–36. http://dx.doi.org/10.14746/i.2022.40.01.

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   The article presents the theoretical views and, to a lesser extent, artistic practices of Joanna Zylinska, who in her artistic activity combines epistemological strategies of a researcher and theorist with her activities in the field of art. She develops in different manners an original project of philosophy as photography, or photography as a form of philosophizing. Posthumanist and post-anthropocentric inspirations and the inclusion of her reflections in a wider circle of a nonhuman turn constitute an epistemological framework of numerous statements devoted to the “photo

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Matulytė, Margarita. "A Little Kingdom. Local Exposures of the Interwar Lithuania (a Case Study)." Tautosakos darbai 53 (June 30, 2017): 47–61. http://dx.doi.org/10.51554/td.2017.28550.

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Based on a case study, the article deals with a question of factors that affect reading of photography and the image it creates, and how different interpretative approaches can alter it. The investigation focuses on a Marcišauskai family picture taken in 1938 in Gudaičiai village (Šiauliai district) during fieldwork session organized by the Šiauliai Society of Regional Studies. Historical context included in the discussion of the photo (from intentions of the photographer to social and cultural circumstances shaping the identity) expands the limits of confiding in the image and highlights the

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Okpoko, Chinwe, and Mpho Chaka. "Exploratory view of the synergy between photojournalism and fine-art photography." IKENGA International Journal of Institute of African Studies 23, no. 2 (2022): 1–23. http://dx.doi.org/10.53836/ijia/2022/23/2/003.

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Photojournalism uses images to tell stories and report events, while fine-art photography aims to express creative ideas and messages also through images. Although both fields express socio-political and religious ideas and reflect the past through pictures, they differ in approach. Photojournalism portrays events as they are using pictorial representations, without imputing the opinion of the journalist; fine art projects such events also pictorially, but from the vision of the artist. Thus both photojournalism and fine-art photography use photographs as a medium of expression. However, while

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Quanchi, Max. "Researching early photography of the Pacific Islands: An overview." Journal of New Zealand & Pacific Studies 8, no. 2 (2020): 269–81. http://dx.doi.org/10.1386/nzps_00041_7.

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Historical research on the early years of photography in the Pacific Islands has revealed changes in the practice of photography, the development of Pacific imagery, tropes and stereotypes and changes in the ways images were distributed, archived and used in modern contexts. Research in the field was initially focused on photography’s indexical nature and the role of professional and amateur photographers, travellers, colonial officials and missionaries. The research highlighted here, only in the English language and excluding Aotearoa/New Zealand, reveals how later analyses have begun to grow

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Ryan, Kathleen M. "The Photography Reader: History and Theory, and The Photography Cultures Reader: Representation, Agency, and Identity, edited by Liz Wells." Visual Communication Quarterly 27, no. 2 (2020): 118–19. http://dx.doi.org/10.1080/15551393.2020.1752091.

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