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Journal articles on the topic 'Photographic histories'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

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

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

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

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

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Warren, Samantha. "Performance, emotion and photographic histories." Accounting, Auditing & Accountability Journal 22, no. 7 (2009): 1142–46. http://dx.doi.org/10.1108/09513570910987411.

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Kratz, Corinne A. "Afterword Uncertain trajectories and refigured social worlds: the image entourage and other practices of digital and social media photography." Africa 89, no. 2 (2019): 323–28. http://dx.doi.org/10.1017/s0001972019000032.

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Drawn from East, West, Central and Southern Africa, the case studies in this special issue build on several decades of important work on photography in Africa. That work has examined colonial photography and postcards, studio work from colonial times to the present, activist photography, photojournalism, and artists who work with photographic images. It has addressed issues of representation, portraiture, aesthetics, self-fashioning, identities, power and status, modernities and materiality, the roles of photographs in governance and everyday politics, and the many histories and modes of socia

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Wallace, Rachel. "Gay Life and Liberation, a Photographic Record of 1970s Belfast." Public Historian 41, no. 2 (2019): 144–62. http://dx.doi.org/10.1525/tph.2019.41.2.144.

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In March 2017, the first LGBTQ+ history exhibition to be displayed at a national museum in Northern Ireland debuted at the Ulster Museum. The exhibition, entitled “Gay Life and Liberation: A Photographic Exhibition of 1970s Belfast,” included private photographs captured by Doug Sobey, a founding member of gay liberation organizations in Belfast during the 1970s, and featured excerpts from oral histories with gay and lesbian activists. It portrayed the emergence of the gay liberation movement during the Troubles and how the unique social, political, and religious situation in Northern Ireland

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Singh, Amrita. "Photographic silence: Remediating the graphic to visualize migrant experience in Shaun Tan’s The Arrival." Studies in Comics 11, no. 2 (2020): 321–39. http://dx.doi.org/10.1386/stic_00033_1.

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In the absence of a verbal language, The Arrival’s mode of representation is derived from various visual storytelling practices in addition to the comic. This article proposes that Tan remediates the mode of comics storytelling by presenting the narrative as a photo album and drawing the panels as photographs, and in turn the photograph is also remediated in the text as a drawn object. Using transmedial techniques such as focalization, gaze, framing and page layout, in addition to deliberations on style and form, Tan constructs comics storytelling with a photographic vision. This photographic

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Binazzi, Marta. "Fotografie e istituzioni museali: il sistema della doppia copia e l’accumulo dei fondi. Le Regie Gallerie di Firenze, 1860-1906." Rivista di studi di fotografia. Journal of Studies in Photography 5, no. 10 (2020): 10–35. http://dx.doi.org/10.36253/rsf-12245.

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   Beginning in the late 1850s, photographic companies reproducing artworks kept in the Royal Galleries of Florence were required to submit copies of their work to the Ministry of Public Education and the museum’s director. This paper shows that while photographers obeyed the rule, their photographs were stored away and left mostly unused for over two decades before the process of creating a proper collection began in the 1880s. Countering traditional histories of how photographic collections were constituted, this paper analyzes bureaucratic practices of documentation and qu

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Zaatari, Akram. "History and photographic memory." Journal of Visual Culture 18, no. 2 (2019): 169–86. http://dx.doi.org/10.1177/1470412919864501.

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In this interview, artist Akram Zaatari reflects on his longstanding work with photographic heritage in the Middle East, North Africa and the Arab diaspora, and considers the different ways in which he has used photographs to illuminate and unfold historical truths. Charting divergencies and disagreements around issues of preservation that have arisen over the years within the Arab Image Foundation (of which he is one of the founders), Zaatari points out radical gestures of preservation that return photographs to the ‘living tissue’, the ‘larger ecosystem’ and a set of affective relations from

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Veal, Clare. "Nostalgia and nationalism: Facebook ‘archives’ and the constitution of Thai photographic histories." Journal of Southeast Asian Studies 51, no. 3 (2020): 372–96. http://dx.doi.org/10.1017/s0022463420000491.

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This article considers the implications of the popularisation of Facebook groups that share historical photographs for the writing of Thai national and photographic histories. Rather than dismissing these groups as lacking in historical rigour, I propose that the nostalgic impetus behind their formation indicates an important way through which we may rethink the continued relevance of Thailand's history to its current sociopolitical situation. Drawing from Craig J. Reynolds’ (1992) argument regarding the interrelationship between the ‘plot of Thai history’ and the narrative historical form, I

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McCredie, Athol. "Pictures on a Page: Towards a History of the Photobook in New Zealand." Back Story Journal of New Zealand Art, Media & Design History, no. 5 (December 1, 2018): 5–21. http://dx.doi.org/10.24135/backstory.vi5.35.

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The term ‘photobook’ is very recent, yet numerous studies now survey histories of its development right back to the invention of photography. This article examines photographic books in New Zealand up to 1970 and concurrently explores definitions of the ‘photobook’ and whether, or to what extent, they can be applied to any of these publications. It considers nineteenth century albums, early scientific publications, and in particular, the books of scenery that have become such a stock item of New Zealand photographic book production. It also looks at a handful of books in the 1950s and 1960s th

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Fawns, Tim. "Blended memory: A framework for understanding distributed autobiographical remembering with photography." Memory Studies 13, no. 6 (2019): 901–16. http://dx.doi.org/10.1177/1750698019829891.

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This article offers a framework for understanding how different kinds of memory work together in interaction with people, photographs and other resources. Drawing on evidence from two qualitative studies of photography and memory, as well as literature from cognitive psychology, distributed cognition and media studies, I highlight complexities that have seldom been taken into account in cognitive psychology research. I then develop a ‘blended memory’ framework in which memory and photography can be interdependent, blending together as part of a wider activity of distributed remembering that is

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Lang, Sabine, and Björn Ommer. "Reconstructing Histories: Analyzing Exhibition Photographs with Computational Methods." Arts 7, no. 4 (2018): 64. http://dx.doi.org/10.3390/arts7040064.

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Displays of art in public or private spaces have long been of interest to curators, gallerists, artists and art historians. The emergence of gallery paintings at the beginning of the seventeenth century and the photographic documentation of (modern) exhibitions testify to that. Taken as factual documents, these images are not only representative of social status, wealth or the museum’s thematic focus, but also contain information about artistic relations and exhibition practices. Digitization efforts of previous years have made these documents, including photographs, catalogs or press releases

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Grote, Mathias, and Max Stadler. "Introduction: Surface Histories." Science in Context 28, no. 3 (2015): 311–15. http://dx.doi.org/10.1017/s0269889715000149.

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The first section of this issue brings together four essays on “surfaces” – a subject matter which might seem conspicuous or, indeed, palpable enough. Just think of the sheets of paper, window panes, and haptic interfaces surrounding you: the world, evidently, is diffused with surfaces, membranes, and boundaries of all sorts. Some of these things have been salient, for obvious reasons in fields such as media studies, or implicit in notions such as “boundary object”: the retina, photographic plates, basilar membranes, the skin, or various forms of “displays” immediately come to mind. Not even m

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Behrend, Heike. "PHOTO MAGIC: PHOTOGRAPHS IN PRACTICES OF HEALING AND HARMING IN EAST AFRICA." Journal of Religion in Africa 33, no. 2 (2003): 129–45. http://dx.doi.org/10.1163/15700660360703114.

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AbstractIn this contribution, I present a few examples of practices in present-day African Christian Churches in which photographs 'do magic' and are used to heal or harm. To counter a tendency, inherent in this topic, of exoticizing and othering, I not only give examples of African 'photo magic' but also include European ones, examples that in the 'standard' or 'official' histories of Western photography are missing. In addition, I try to work out the interdependence and the mutual mirroring of Western and African practices and discourses, i.e., aspects of their interculturality, against the

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Parsegian, Vazken Lawrence. "On Preserving Architectural History: The Armenian Experience." Journal of the Society of Architectural Historians 44, no. 3 (1985): 284–86. http://dx.doi.org/10.2307/990077.

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The assembly of the Armenian Architectural Photographic Archives-the first of its kind among ethnic histories-has revealed the value of using microform techniques for both preserving photographic records at relatively low cost and for aiding architectural research which involves large amounts of photographic detail. Moreover, the values multiply as computer capabilities are integrated with the assembly process for internal cross-referencing and for facilitating availability to researchers as an on-line data base. The article also discusses the severe difficulties that projects of this kind fac

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Whitehouse, Anna M., and Anthony J. Hall-Martin. "Elephants in Addo Elephant National Park, South Africa: reconstruction of the population's history." Oryx 34, no. 1 (2000): 46–55. http://dx.doi.org/10.1046/j.1365-3008.2000.00093.x.

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AbstractThe history of the Addo elephant population in South Africa, from the creation of the Addo Elephant National Park (AENP) in 1931 to the present (every elephant currently living within the park is known), was reconstructed. Photographic records were used as a primary source of historical evidence, in conjunction with all documentation on the population. Elephants can be identified in photographs taken throughout their life by study of the facial wrinkle patterns and blood vessel patterns in their ears. These characteristics are unique for each elephant and do not change during the indiv

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Cruickshank, Sam S., and Benedikt R. Schmidt. "Error rates and variation between observers are reduced with the use of photographic matching software for capture-recapture studies." Amphibia-Reptilia 38, no. 3 (2017): 315–25. http://dx.doi.org/10.1163/15685381-00003112.

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Photographic capture-mark-recapture (CMR) permits individual recognition whilst avoiding many of the concerns involved with marking animals. However, the construction of capture histories from photographs is a time-consuming process. Furthermore, matching accuracy is determined based on subjective judgements of the person carrying out the matching, which can lead to errors in the resulting datasets – particularly in long-term projects where multiple observers match images. We asked 63 volunteers to carry out two photographic-matching exercises using a database of known individuals of the yello

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Gray, Lara Cain. "Magic Moments: Contextualising Cinema Advertising Slides from the Queensland Museum Collection." Queensland Review 18, no. 1 (2011): 73–84. http://dx.doi.org/10.1375/qr.18.1.73.

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The Queensland Museum's eclectic State Collection holds an extensive range of photographic and moving image equipment, as well as a collection of slides and photographs that tells all manner of stories about the history of Queensland. This collection goes back to the earliest technologies, such as daguerreotypes and hand-drawn magic lantern slides, and extends through to a digital image repository. Included in this collection are two captivating series of cinema advertising slides used at the Wintergarden cinemas in Maryborough and Ipswich during the 1940s and 1950s. These slides simultaneousl

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Pérez-Sánchez, Gema. "David Trullo’s queer revisionist photography." Journal of Language and Sexuality 5, no. 2 (2016): 197–221. http://dx.doi.org/10.1075/jls.5.2.04per.

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Working with the theoretical notions of “homonationalism” (Puar 2013) and “pinkwashing” (Schulman 2011, 2012, Spade 2013) and using as a case study two photographic series by contemporary Spanish gay photographer David Trullo, I illuminate the complex situation in which contemporary queer Spanish visual artists must produce their work: they resist homonationalism and homonormativity at the same time that they must work within the very frames of homonationalism and homonormativity to fund, produce, and disseminate their particularly subversive queer politics. In analyzing Trullo’s series, Alter

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Klingle, Matthew. "River Glass." Boom 5, no. 2 (2015): 42–51. http://dx.doi.org/10.1525/boom.2015.5.2.42.

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This essay by historian Matthew Klingle compares the work of Carleton Watkins, a pioneer in early photography, and Michael Kolster, a contemporary photographer. Like his predecessor, Kolster uses the wet-plate photographic process to create ambrotypes: handmade images made on glass. Watkins’s images, made in the late-nineteenth century, helped to sell scenic, monumental California and the West to the nation. In contrast, Kolster’s photographs of the Los Angeles River, a degraded and often ignored urban waterway, suggest how older photographic techniques might be employed to create new aestheti

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Gray, Breda. "‘Leaving Dublin’: Photographic portrayals of post-Celtic Tiger emigration – a sociological analysis." Sociological Review 67, no. 3 (2018): 635–53. http://dx.doi.org/10.1177/0038026118795087.

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This article analyses David Monahan’s photographic portrait series of over 120 people before emigrating from post-Celtic Tiger Ireland, entitled ‘Leaving Dublin’. As a digital series that circulates across multiple media channels, it moves beyond the tradition of documentary photography into a more hybrid aesthetic, political and media environment. As well as inserting these images in multiple circulatory platforms and replicable formats, the series disrupts the dominant visual culture of emigration by expressively recasting how it is seen and thought. This article argues that the highly styli

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Dahlgren, Anna. "Photography Reframed." Culture Unbound 8, no. 1 (2016): 3–19. http://dx.doi.org/10.3384/cu.2000.1525.16813.

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This article discusses the benefits of analysing photography as mediated, reproduced and entangled in media systems, and consequently as part of a larger media culture. Moreover it combines technological considerations drawn from media archaeology with art historical analysis focusing on visual aesthetics. It considers two mediating devices for photography in the nineteenth century, the photo album and the illustrated press. As displayed, a media historical perspective airs new interpretations and understandings of processes and practices in relation to photography in the period. Thus what fro

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Mohabir, Nalini. "Yee I-Lann: Photomontage as counter-mapping." Cultural Dynamics 31, no. 3 (2019): 260–75. http://dx.doi.org/10.1177/0921374019855550.

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In this primarily visual essay, I consider the ways in which Yee I-Lann’s art revisits the colonial archive in an attempt to affect our understanding of its geographic, social and historical implications. Stitching together concerns about time, space and feelings, Yee I-Lann’s work addresses Southeast Asia’s history of colonial practices through her method of ‘speculative photomontage’, creating speculative moments to suggest new meanings within past and present contexts. In so doing, her work opens up the single photographic moment in time by recontexualizing and recombining signifiers of mem

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Ramalingam, Chitra. "Dust Plate, Retina, Photograph: Imaging on Experimental Surfaces in Early Nineteenth-Century Physics." Science in Context 28, no. 3 (2015): 317–55. http://dx.doi.org/10.1017/s0269889715000125.

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ArgumentThis article explores the entangled histories of three imaging techniques in early nineteenth-century British physical science, techniques in which a dynamic event (such as a sound vibration or an electric spark) was made to leave behind a fixed trace on a sensitive surface. Three categories of “sensitive surface” are examined in turn: first, a metal plate covered in fine dust; second, the retina of the human eye; and finally, a surface covered with a light-sensitive chemical emulsion (a photographic plate). For physicists Michael Faraday and Charles Wheatstone, and photographic pionee

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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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Fitzpatrick, Orla. "Vox magazine: Dublin street fashion and photography in an early 1980s magazine." Punk & Post Punk 9, no. 2 (2020): 267–85. http://dx.doi.org/10.1386/punk_00042_1.

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This article explores the editorial and photographic content of Vox, a Dublin magazine that covered the musical, artistic and sartorial tastes adopted by various subcultures on the streets of the Irish capital. Edited and published by Dave Clifford between 1980 and 1983, the magazine featured local and international post-punk bands, performance artists, writers and those on the scene. Particular reference is paid to the role of markets, such as the Gaiety Green, the Ivy and the Dandelion, as sites for the exchange of both ideas and goods. The creativity and self-expression embodied within thes

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OLSON, ALEXANDER I. "Muybridge in the Parlor." Journal of American Studies 50, no. 1 (2015): 81–104. http://dx.doi.org/10.1017/s0021875815000018.

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Commonly regarded as one of the pioneers of motion-picture technology, Eadweard Muybridge carried out several photographic studies of animal and human movement in the late nineteenth century. One of Muybridge's lesser-known commissions was an album of interior photographs that he created in 1880 for his friends Kate and Robert Johnson. This article offers a close reading of this album and argues that it has more in common with Muybridge's motion studies than historians have previously recognized. Far from being a commercial outlier, the album offered Muybridge an opportunity to experiment with

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Medvedev, Katalin. "Pointy Bras and Loose House Dresses: Female Dress in Hungary and the United States in the 1950s." Hungarian Cultural Studies 3 (January 1, 2010): 27–34. http://dx.doi.org/10.5195/ahea.2010.26.

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This paper is a comparative study of the social, ideological and economic differences between the United States and Hungary during the 1950s through the examination of the expressive features of female dress. It argues that dress served as a significant means of conveying the major divisions between the two countries and demonstrates that the female body became one of the crucial sites for waging the everyday battles of the Cold War opponents. Because less information is available about the construction of gender and the sartorial practices of women in Hungary in the 1950s this paper primarily

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Saunders, Jack. "Emotions, Social Practices and the Changing Composition of Class, Race and Gender in the National Health Service, 1970–79: ‘Lively Discussion Ensued’." History Workshop Journal 88 (2019): 204–28. http://dx.doi.org/10.1093/hwj/dbz023.

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Abstract During the 1970s, Britain’s trade unions expanded into new areas of the economy, making considerable progress among the low-paid workers of the expanding welfare state. The Confederation of Health Service Employees (COHSE) and the National Union of Public Employees (NUPE) both made huge strides recruiting women and particularly women of colour in the National Health Service, as the laundry, cleaning, catering and portering services of Britain’s hospitals became union strongholds. This article questions why the increased weight of feminized service work is so marginal in our idea of 19

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Jameson, Emma. "Russell Duncan: Re-tracing history." Back Story Journal of New Zealand Art, Media & Design History, no. 6 (July 1, 2019): 55–73. http://dx.doi.org/10.24135/backstory.vi6.45.

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This article considers the construction and meaning of time in Russell Duncan’s photographs. A hobbyist photographer and passionate historian, Duncan extensively photographedsites associated with early European explorers and colonial history in New Zealand, focussing primarily on those associated with Captain Cook. This article analyses, for the first time, Duncan’s use of the sequential format of photographic albums to manipulate timelines in order to visually reconstruct historical narratives. By analysing Duncan’s photographs of sites associated with Captain Cook in detail, this article inv

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Papstein, Robert. "Creating and Using Photographs as Historical Evidence." History in Africa 17 (January 1990): 247–65. http://dx.doi.org/10.2307/3171815.

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The use of photographs as research data is becoming of increasing interest to historians of Africa. The School of Oriental and African Studies' Workshop on “Photographs as sources for African history” is only the most recent example of this emerging concern. This paper is designed to discuss some of the conceptual problems one might meet when attempting to understand photographs as data. It also discusses making photographs as a systematic part of field research. Lastly, it provides a brief primer on the type of photographic equipment best suited for fieldwork.Historians of Africa are used to

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Tomassini, Luigi. "Una "dialettica ferma"? Storici e fotografia in Italia fra linguistic turn e visual studies." MEMORIA E RICERCA, no. 40 (September 2012): 93–110. http://dx.doi.org/10.3280/mer2012-040007.

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How the visual studies have influenced the work of historians? To answer this question the paper addresses some methodological problems that have characterized the historians' growing attention for images over the last decades. Particularly, we examine the photograph as an image that is simultaneously trace and representation of the reality. The second part offers a survey of the works that have used photography as a historical source in Italy, identifying the Italian specificity in a strong presence of historical-political essays using the photographic sources.

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Levi, Donata. "La fotografia nel museo d’arte a fine Ottocento: sovrapposizioni e occasioni per una rinnovata filologia visiva. Alcuni spunti." Rivista di studi di fotografia. Journal of Studies in Photography 5, no. 10 (2020): 60–80. http://dx.doi.org/10.36253/rsf-12246.

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   The article deals with the effects of photography on the practices of art historians, focusing on some German cases. Photography, defined by Paul de Saint-Victor in 1887 as the “musée en action de l’art européen,” offered unprecedented opportunities for a renewed visual philology. Yet this evolution was more complex and less unidirectional than is generally thought. The illustrated publications of Gustav Scheuer in the 1860s attest to different ways of manipulating photographic images and illuminate the connections between photography and comparative methods, which initi

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Kohdrata, Naniek, and Cokorda Gede Alit Semarajaya. "Memotret Bentuk-bentuk Toleransi di Desa Kampung Kusamba, Karangasem, Bali." Jurnal Lanskap Indonesia 13, no. 1 (2021): 1–6. http://dx.doi.org/10.29244/jli.v13i1.32696.

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Kampung Kusamba Village is a relatively small size village in the Bali Island with a majority Muslim population. The village area is surrounded by villages that are predominantly Hindu. The Kampung Kusamba is an example that tolerance in social life is actualized. This research emphasizes on documenting tolerance between Kampung Kusamba dwellers with the Balinese through architectural forms and folklores, myths, or any other oral histories. The research method used is qualitative. Data were collected using a purposive approach, utilizing an in-depth interview technique to resource persons and

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Ferwati, M. Salim, Mariam Al-Hammadi, Khalida Lifam Marthya, Sherine El-Menshawy, and Haya Aidh Althbah. "Multi-Layered Documentation of Heritage Villages: The Case of Tinbak, Qatar." Designs 5, no. 3 (2021): 38. http://dx.doi.org/10.3390/designs5030038.

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Heritage settlements have long histories that consist of multiple layers of urban layouts, building forms, and culture. Looking at the first layer that formed the initiation stage of the growth becomes a difficult task because of the disguise of other successive layers. This article studies the abandoned village of Tinbak in Qatar that exemplifies a settlement at its initial stage of development. The method of examining a societal normative image of culturally suitable domiciliary development adds to the understanding of a heritage settlement layout. However, the village lacks literature sourc

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Rhall, Steven. "Home ground advantage: artwork as auto-biographical stories of multiple indigenous selves in colonised spaces and histories." Thesis Eleven 145, no. 1 (2018): 99–110. http://dx.doi.org/10.1177/0725513618766432.

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This essay details the manifestation of the artwork Home Ground, including its subsequent iterations, to explore how an artwork might function as both an expression and extension of narratives associated with its author, Steven Rhall. This exploration begins with a consideration of the ways in which various contextual frameworks inform ‘subjective decisions’, for example, coloniality, and process-led making. I identify as a Taungurung man (First Nations Australian) but I live in a colonised society, experiencing cultures tied to each positionality in the contradictory, complex overlapping cont

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Jerez Columbié, Yairen. "People of the Mangrove: A Lens into Socioecological Interactions in the Ecuadorian Black Pacific." eTropic: electronic journal of studies in the Tropics 20, no. 2 (2021): 74–94. http://dx.doi.org/10.25120/etropic.20.2.2021.3808.

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Adapted to survive in the interface between land and sea, mangroves are highly vulnerable to the impacts of climate change. They are also highly adaptive to the imagination, with the theme of the mangrove being differently signified across texts, languages and communities as a place to find death in the tropics, a nature tourism destination, endangered environment, magical wood, refuge for maroons and revolutionaries, and source of livelihoods. The cultural malleability of mangroves mirrors their natural adaptability. It also echoes the varied and rhizomatic identities and imaginaries of the p

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Melot, Michel. "Les bibliotheques d’art en France et les nouvelles technologies de l’image." Art Libraries Journal 15, no. 2 (1990): 15–18. http://dx.doi.org/10.1017/s0307472200006702.

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In an age in which so much information is communicated through images, libraries can no longer exclude the ‘new technology of the image’. It is essential for libraries to respond to the challenge of the media, and to recognise, for example, the importance of television, which has a very visible and vital presence in the Bibliothèque publique d’information at the Pompidou Centre in Paris. Ever since the invention of photography, France has been the home of a lively tradition of active, innovative interest in photography. This is reflected in the existence of the Centre national de la photograph

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

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

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Vågnes, Øyvind. "A day in history: Andrea Gjestvang’s 22 July photographs." Journal of European Studies 47, no. 4 (2017): 359–71. http://dx.doi.org/10.1177/0047244117733911.

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Combining photographic portraits and testimony, Andrea Gjestvang’s En dag i historien: 22. juli concerns the experiences and thoughts of 43 young people who survived the terror attack at the Labour Party youth camp on Utøya Island, outside Oslo on 22 July 2011. Published the year after the events, the book captures a moment in time in which memories of what happened were still very raw, and the various attempts at commemoration in diverse cultural forms were yet to be conceived of, and subsequently contested. Drawing on recent writings on photography (by Ariella Azoulay, Robert Hariman and Joh

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Ruel, Stefanie, Albert J. Mills, and Jean Helms Mills. "Gendering multi-voiced histories of the North American space industry: the GMRD White women." Journal of Management History 25, no. 4 (2019): 464–92. http://dx.doi.org/10.1108/jmh-02-2018-0019.

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Purpose The authors focus on “writing women into ‘history’” in this study, embracing the notion of cisgender and ethnicity in relation to the “historic turn”. As such, the authors bring forward the stories of the US Pan American Airway’s Guided Missile Range Division (GMRD) and the White women who worked there. The authors ask what has a Cold War US missile division to tell us about present and future gendered relationships in the North American space industry. Design/methodology/approach The authors apply Foucault’s technology of lamination, a form of critical discourse analysis, to both narr

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

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

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Ureña, Leslie. "Portraying Race beyond Ellis Island: The Case of Lewis Hine." International Journal for History, Culture and Modernity 8, no. 1 (2020): 13–37. http://dx.doi.org/10.1163/22130624-00801006.

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Lewis Hine first went to New York’s Ellis Island Immigration Station to take photographs that would elicit sympathy from his students at the Ethical Culture School toward the new immigrants. Since then, the photographs, dating from 1905 to 1926, have visually defined his sitters as foreigners in classrooms, in print, and at museums. Produced at a time when the so-called race of the foreign-born was deemed indicative of their overall character and abilities, the photographs both sustained and countered turn-of-the-century racialized conceptualizations of newcomers. More recently, contemporary a

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Dingle, Lesley. "Legal Biography, Oral History and the Cambridge Eminent Scholars Archive (ESA)." Legal Information Management 14, no. 1 (2014): 58–68. http://dx.doi.org/10.1017/s1472669614000140.

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AbstractLesley Dingle describes the ESA, a digital archive based on interviews with prominent personalities associated with the Law Faculty of Cambridge University. It constitutes a unique repository of audio, textual and photographic materials, providing insights into the careers of scholars, jurists and practitioners. Motivations for the establishment of the archive in 2006 were: recording reminiscences of scholars back to WWII and its immediate aftermath; documenting developments in administration and teaching in the Faculty and colleges; archiving voices of scholars taking about their earl

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Hall, Gregory W., Jeff R. Crandall, Gregory S. Klopp, and Walter D. Pilkey. "Angular Rate Sensor Joint Kinematics Applications." Shock and Vibration 4, no. 4 (1997): 223–29. http://dx.doi.org/10.1155/1997/243513.

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High speed rotary motion of complex joints were quantified with triaxial angular rate sensors. Angular rate sensors were mounted to rigid links on either side of a joint to measure angular velocities about three orthogonal sensor axes. After collecting the data, the angular velocity vector of each sensor was transformed to local link axes and integrated to obtain the incremental change in angular position for each time step. Using the angular position time histories, a transformation matrix between the reference frame of each link was calculated. Incremental Eulerian rotations from the transfo

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Macintyre, Iain. "A pioneer in two worlds: Thomas Keith (1827–1895) photographer and surgeon." Journal of Medical Biography 27, no. 2 (2017): 115–22. http://dx.doi.org/10.1177/0967772017702320.

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Thomas Keith, an Edinburgh surgeon, was an early and successful exponent of the operation of ovariotomy (ovarian cystectomy). He published detailed accounts of all of the patients on whom he carried out this procedure and his published success rate proved to be amongst the best in the world. The leading American surgeon J Marion Sims, who visited Keith to determine the reasons for this success, concluded that Keith’s achievement resulted from meticulous attention to detail and his emphasis on the cleanliness of the instruments and the operating field, before this was generally adopted. His fri

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Simcharoen, Saksit, Anak Pattanavibool, K. Ullas Karanth, James D. Nichols, and N. Samba Kumar. "How many tigers Panthera tigris are there in Huai Kha Khaeng Wildlife Sanctuary, Thailand? An estimate using photographic capture-recapture sampling." Oryx 41, no. 4 (2007): 447–53. http://dx.doi.org/10.1017/s0030605307414107.

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AbstractWe used capture-recapture analyses to estimate the density of a tiger Panthera tigris population in the tropical forests of Huai Kha Khaeng Wildlife Sanctuary, Thailand, from photographic capture histories of 15 distinct individuals. The closure test results (z = 0.39, P = 0.65) provided some evidence in support of the demographic closure assumption. Fit of eight plausible closed models to the data indicated more support for model Mh, which incorporates individual heterogeneity in capture probabilities. This model generated an average capture probability $\hat p$ = 0.42 and an abundanc

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Vedel, Karen Arnfred. "The Performance of Pictorialist Dance Photography." Nordic Theatre Studies 29, no. 1 (2017): 138. http://dx.doi.org/10.7146/nts.v29i1.102972.

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Looking to the widely disseminated pictorialist photos of Waldemar Eide (Norway) and Henry B. Goodwin (Sweden) featuring the Russian ballerina Vera Fokina and the Swedish ballerina Jenny Hasselquist, the article is an enquiry into the role of the dancer in the pictorialist studio and the contribution of pictorialist photography to the turning point when the aesthetics of dance was being re-considered, the dancing body reconfigured, and photography emerged into an art form in its own right. Taking inspiration from the socio-material approach of photography historian Elizabeth Edwards, the analy

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Vedel, Karen Arnfred. "The Performance of Pictorialist Dance Photography." Nordic Theatre Studies 29, no. 1 (2018): 138. http://dx.doi.org/10.7146/nts.v29i1.103314.

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Looking to the widely disseminated pictorialist photos of Waldemar Eide (Norway) and Henry B. Goodwin (Sweden) featuring the Russian ballerina Vera Fokina and the Swedish ballerina Jenny Hasselquist, the article is an enquiry into the role of the dancer in the pictorialist studio and the contribution of pictorialist photography to the turning point when the aesthetics of dance was being re-considered, the dancing body reconfigured, and photography emerged into an art form in its own right. Taking inspiration from the socio-material approach of photography historian Elizabeth Edwards, the analy

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Vidal, Belén. "New Women’s Biopics: Performance and the Queering of Herstor/ies." European Journal of Life Writing 10 (September 8, 2021): WLS17—WLS40. http://dx.doi.org/10.21827/ejlw.10.37911.

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This article revisits the debates about the postfeminist biopic in the 21st century through the films Wild Nights with Emily (Olnek, 2018), Florence Foster Jenkins (Frears, 2016), The Favourite (Lanthimos, 2018) and particularly Colette (Westmoreland, 2018) to examine the ways in which new women’s biopics queer women’s histories. The article examines the debates about representation concerning the female biopic (Bingham 2010, Polaschek 2013), especially the problematic conflation of a woman’s body/sexuality with her body of work and proposes an analysis of screen biography as a filmic (that is

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