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Journal articles on the topic 'Photographic histories'
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1
Padmanabhan, Lakshmi. "A Feminist Still." Camera Obscura: Feminism, Culture, and Media Studies 35, no. 3 (December 1, 2020): iv—29. http://dx.doi.org/10.1215/02705346-8631535.
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What can photographic form teach us about feminist historiography? Through close readings of photographs by visual artist and documentary photographer Sheba Chhachhi, who documented the struggle for women’s rights in India from the 1980s onward, this article outlines the political stakes of documentary photography’s formal conventions. First, it analyzes candid snapshots of recent protests for women’s rights in India, focusing on an iconic photograph by Chhachhi of Satyarani Chadha, a community organizer and women’s rights activist, at a rally in New Delhi in 1980. It attends to the way in which such photographs turn personal scenes of mourning into collective memorials to militancy, even as they embalm their subjects in a state of temporal paralysis and strip them of their individual history. It contrasts these snapshots to Chhachhi’s collaborative portrait of Chadha from 1990, a “feminist still” that deploys formal conventions of stillness to stage temporal encounters between potential histories and unrealized futures. Throughout, the article returns to the untimeliness of Chhachhi’s photography, both in the multiple temporalities opened up within the image and in its avant-garde critique of feminist politics through experiments with photographic form.
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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 (August 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 Autographic Camera which became known as the ‘Soldier's Camera’, allowed soldiers on the battle front and their families on the home front to experience the war and the formation of post-war memory outside of the iconic images of military heroes and battlefield conflict. Vernacular photography allowed for intimate portrayals of everyday soldier life to be visually displayed in private arrangements of photographs in photo-albums compiled by soldiers and their families as forms of post-war remembrance. Discussing photograph albums compiled by Irish soldiers and nurses, this essay explores the place of vernacular photography in personal commemorative acts by soldiers and nurses in the aftermath of the First World War. By treating vernacular soldier photographs of World War I as social objects that allow relationships to be formed and maintained across time, the essay argues that the materiality of the photograph as image-object can be explored to consider how the exchange, circulation and consumption of photographs allow for the accumulating and expending of histories and memories of the First World War and its aftermath.
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Warren, Samantha. "Performance, emotion and photographic histories." Accounting, Auditing & Accountability Journal 22, no. 7 (September 18, 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 (May 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 social practice around making, showing, viewing, exchanging, manipulating, reproducing, circulating and archiving photographic images. Yet these articles push such issues and topics in exciting directions by addressing new photographic circumstances emerging throughout the world, initiated through new media's technological shifts and possibilities. In Africa, this has fuelled a range of transformations over the last fifteen years or so, transformations that are still unfolding. As the articles show, digital images, mobile phone cameras and social media (also accessed via phone) constitute the potent triad that has set off these transformations.
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Wallace, Rachel. "Gay Life and Liberation, a Photographic Record of 1970s Belfast." Public Historian 41, no. 2 (May 1, 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 fundamentally shaped the establishment of a gay identity and community in the 1970s. By displaying private photographs and personal histories, it revealed the hidden history of the LGBTQ+ community to the museum-going public. The exhibition also enhanced and extended the histories of the Troubles, challenging traditional assumptions and perceptions of the conflict.
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Singh, Amrita. "Photographic silence: Remediating the graphic to visualize migrant experience in Shaun Tan’s The Arrival." Studies in Comics 11, no. 2 (November 1, 2020): 321–39. http://dx.doi.org/10.1386/stic_00033_1.
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In the absence of a verbal language, The Arrival’s mode of representation is derived from various visual storytelling practices in addition to the comic. This article proposes that Tan remediates the mode of comics storytelling by presenting the narrative as a photo album and drawing the panels as photographs, and in turn the photograph is also remediated in the text as a drawn object. Using transmedial techniques such as focalization, gaze, framing and page layout, in addition to deliberations on style and form, Tan constructs comics storytelling with a photographic vision. This photographic vision is used to represent the experience of migration in the narrative as well as connect past and contemporary histories of migration world over. The photograph emerged as an important medium through which memory came to be visualized in the twentieth century, and is an important historical artefact capable of telling the story of its times. Tan also expects the reader to employ an intermedial and intertextual critical literacy to engage with the narrative. The visual poetics of the text direct the reader’s affective and empathetic engagement with the situation being presented and with the character whose experience they encode. The article focuses on three kinds of photographic representation in the narrative: the iterations of the protagonist’s family photograph, the narrative itself shaped as a photo album and the immigrant’s identification photograph.
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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 (December 14, 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 questions the status of photographs in 19th century museums.
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Zaatari, Akram. "History and photographic memory." Journal of Visual Culture 18, no. 2 (August 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 which they had become detached. The far-ranging metaphor of archaeology that the artist employs to illuminate his practice also lends itself to describe the destructive nature of certain acts of collecting premised on ‘excessive accumulation’, of which the pillage of the archaeological heritage in the Middle East and North Africa in the late 18th and early 19th centuries is an emblematic example. Collecting, however, is also a tool for writing history and the displacement of photographs serves as a crucial step to reconfigure them within new narratives. Attentive to the changing nature of photographic archives, Zaatari frees photographs from fixed and prescribed readings, bringing new perspectives to bear on them without necessarily denying those former interpretations. Additional layers of historical information can be found nestling in details accidentally captured by the camera's lens, in signs of material damage or ‘worthy’ defects. In Zaatari’s hands, digital technologies are used to emphasize, not to occlude the traces of these material histories. In the folds of the archives, hidden narratives wait to be revealed and unfolded under the loving gaze of the artist, collector and historian.
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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 (September 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 consider how this plot might be challenged or displaced through a movement from text to image, and from the material to the digital.
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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 that reacted against the scenic, as well as books of the 1960s inspired by photojournalism.
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Fawns, Tim. "Blended memory: A framework for understanding distributed autobiographical remembering with photography." Memory Studies 13, no. 6 (February 13, 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 structured by interaction and phenomenology. In contrast to studies of cued recall, which commonly feature isolated categories or single instances of recall, this framework takes account of people’s histories of photographic practices and beliefs to explain the long-term convergence of episodic, semantic and inferential memory. Finally, I discuss implications for understanding and designing future memory research.
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Lang, Sabine, and Björn Ommer. "Reconstructing Histories: Analyzing Exhibition Photographs with Computational Methods." Arts 7, no. 4 (October 9, 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, available to public audiences and scholars. While a manual analysis has proved to be insufficient, because of the sheer number of available data, computational approaches and tools allowed for a greater access. The following article describes how digital images of exhibitions, as released by the New York Museum of Modern Art in the fall of 2016, are studied with a retrieval system to analyze in which artistic contexts selected artworks were presented in exhibits.
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Grote, Mathias, and Max Stadler. "Introduction: Surface Histories." Science in Context 28, no. 3 (August 10, 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 mentioning their immense metaphoricity, surfaces are the entities that make things visible, inscribable, or knowable. But not all of them have been so salient. In fact, most surface-phenomena arguably – and, typically, for similarly obvious reasons – haven't received much scholarly notice at all: plastic wraps, lacquers, lubricants, coatings, silicon wavers, cell membranes, glass, plant leaves, the ozone layer.
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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 background of the Christian Eucharist and cult of relics. For it is in the Eucharist and relics that the paradoxes of simultaneous presence and absence as well as substance and representation are dealt with, paradoxes that will reappear in the photographic practices in Kenya and Uganda. Thus, I attempt to interpret Ugandan and Kenyan photo magic in Christian churches as variations of the Eucharist.
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Parsegian, Vazken Lawrence. "On Preserving Architectural History: The Armenian Experience." Journal of the Society of Architectural Historians 44, no. 3 (October 1, 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 face due to the political-geographic barriers existing in many historical regions.
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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 (January 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 individual's life. The life histories of individual elephants were traced: dates of birth and death were estimated and, wherever possible, the identity of the individual's mother was ascertained. An annual register of elephants living within the population, from 1931 to the present, was compiled, and maternal family trees constructed. Preliminary demographic analyses for the period 1976–98 are presented. The quantity and quality of photographs taken during these years enabled thorough investigation of the life histories of all elephants. Prior to 1976, insufficient photographs were available to provide reliable data on the exact birth dates and mothers' identities for every calf born. However, data on annual recruitment and mortality are considered sufficiently reliable for use in analyses of the population's growth and recovery.
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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 yellow-bellied toad (Bombina variegata). From these exercises, we quantified the matching accuracy of volunteers in terms of false-acceptance and false-rejection rates. Not only were error rates greatly reduced with the use of photographic-matching software, but variation in error rates among volunteers was also lowered. Furthermore, the use of matching software led to substantial increases in matching speeds and an 87% reduction in the false-rejection rate. As even small error rates have the potential to bias CMR analyses, these results suggest that computer software could substantially reduce errors in CMR datasets. The time-savings and reduction in variance among observers suggest that such methods could be particularly beneficial in long-term CMR projects where a large number of images may be matched by multiple observers.
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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 simultaneously illuminate a history of entertainment and cinema-going, a history of image technologies and the histories of the advertised products and events pertinent to regional Queenslanders at this time.
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Pérez-Sánchez, Gema. "David Trullo’s queer revisionist photography." Journal of Language and Sexuality 5, no. 2 (September 16, 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, Alterhistory: Una historia verdadera (2010) — a gay and lesbian, homonormative rewriting of late nineteenth- and early-twentieth-century photographic couple portraiture — I argue that he simultaneously makes visible and performatively embodies new LGBTQ visibilities and histories in Spain where they were previously erased through a queer manipulation of photographic language, specifically by altering what Roland Barthes has called photography’s “connotation procedures.” Also, I analyze Trullo’s Inca: 20 perfiles peruanos sin filtro (2009), a critique of neo-colonial Spanish enterprises in Latin America and Peru’s racism towards its queer indigenous population, which the artist produced while accompanying an exhibition promoting same-sex marriage funded by the AECID (Agencia Española de Cooperación Internacional para el Desarrollo). I conclude that Trullo intervenes in and complicates public debates about LGBTQ rights, visibility, embodiment, and the politics of neo-liberal commodification of progressive rights
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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 aesthetics of place freed from the confines of purity and beauty.
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Gray, Breda. "‘Leaving Dublin’: Photographic portrayals of post-Celtic Tiger emigration – a sociological analysis." Sociological Review 67, no. 3 (October 2, 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 stylised and unsentimental aesthetic adopted by Monahan pushes the images beyond the established visual culture of sentimental departure, visualising instead transnational and multicultural histories and politics through complex circuits of migration. As such, it highlights what Mieke Bal sees as the instability of migratory culture in the city landscape. At the same time, however, it re-enacts particular social distinctions and divisions. Just as new trajectories, relationalites and stories ‘appear’ as constitutive of Dublin and contemporary mobility, so also other trajectories, relationalities and mobilities are disappeared in ways that keep an exclusionary topography and politics of mobility in place. This is evident in the insistent and persistent separation between Irish asylum-seeking/immigration and emigration-focused digital photographic projects. So, although digitisation facilitates reflexive ways of communicating contemporary migration, and Monahan’s project succeeds in forging subtle connections, it also re-enacts structured disconnection and forgetting.
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Dahlgren, Anna. "Photography Reframed." Culture Unbound 8, no. 1 (April 12, 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 from a photo historical point of view might appear as an important, paradigmatic invention or a critical technical delimitation might from a media historical perspective seem to have been merely a small adjustment in a chain of gradual improvements and experiments in the dissemination and consumption of images. Thus photographic media specificity delimited by technical procedures and certain materials outputs, which was so strongly emphasized in the twentieth century, was evidently not fixed to materiality and rather opened and negotiated in the nineteenth century. Accordingly, responsiveness to the literal and figurative framing of photography as mediated, discloses other photo histories.
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Mohabir, Nalini. "Yee I-Lann: Photomontage as counter-mapping." Cultural Dynamics 31, no. 3 (August 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 memory, landscape, personal, and social histories, emotional and political affiliations through her photomontage process. The visuality of her approach facilitates alternative – and affective – ways of seeing the ripple effects of histories and geographies.
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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 (August 10, 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 pioneer William Henry Fox Talbot, transient phenomena could be studied through careful observation and manipulation of the patterns wrought on these different surfaces, and through an understanding of how the imaging process unfolded through time. This exposes the often-ignored materiality and temporality of epistemic practices around nineteenth-century scientific images said to be “drawn by nature.”
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Van Trigt, Paul, and Susan Legêne. "Writing Disability into Colonial Histories of Humanitarianism." Social Inclusion 4, no. 4 (November 10, 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 Bethesda, in the Dutch colony Suriname, at the beginning of the twentieth century. It discusses the way the sitters in the photograph have been framed, and how the photograph has been made and used. The photograph makes it difficult to register agency, but easily reaffirms existing colonial categories. Therefore, this paper also uses another strategy of analysis. By following Actor-Network Theory, focusing on non-human actors, the second part of this paper offers a new and more convincing interpretation of the photograph. This strategy (a) understands agency as a phenomenon of interdependence instead of independence, and (b) approaches photographs as both real and performed. Combining the written history of humanitarianism and disability, it allows new histories of people with disabilities to develop, histories that move beyond the categories of colonialism.
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Fitzpatrick, Orla. "Vox magazine: Dublin street fashion and photography in an early 1980s magazine." Punk & Post Punk 9, no. 2 (June 1, 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 these photographic spreads is analysed. The article draws upon scholarship on fanzines, subcultures and fashion and also augments the author’s research into the subject with additional oral histories and interviews conducted with market traders. National and international networks are traced and tracked with especial reference to London and Berlin as sites of culture and experimentation. It concludes with a look at the street as the locus for creative expression through music and clothes.
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OLSON, ALEXANDER I. "Muybridge in the Parlor." Journal of American Studies 50, no. 1 (February 10, 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 the technological and cultural possibilities of photography in a new way. Through ghosts, mirrors, and other forms of representational excess, these images make visible Muybridge's handiwork as a photographer and the intellectual complexity of his collaboration with Kate and Robert Johnson.
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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 focuses on Hungary. Data for this paper was collected through oral histories, archival sources and through the examination of contemporary photographic images.
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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 1970s workplace activism and why it features so rarely in histories of British trade unionism, despite being one of the movement’s most significant growth areas. Drawing on NUPE’s photographic archive, I argue that by looking at the changing character of worker-activist visual culture in this period we can reinsert women and women of colour back into those histories. This is followed by a close reading of trade-union branch minutes which explores how women re-ordered the gendered hierarchy of both their male-dominated union and their hospital between 1970 and 1979, exercising new-found agency within the highly paternalist setting of the NHS.
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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 investigates how Duncan’s photographs, read both individually and in a sequence, fuse past and present in their re-tracing of history.
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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 thinking of themselves as dwelling at the very cutting edge of methodological and theoretical innovation, but in the use of visual data we lag behind our colleagues in ethnology, anthropology, and sociology. Fieldwork historians, virtually all of whom take photographs, have rarely accepted photography as an integral part of their field research data. Nor has readily available visual data been widely used by historians: compare the extensive historical use of conventional anthropological data with the almost total neglect of visual anthropology.Although the eye is our most important information-gathering sense, we find it surprisingly difficult to agree about the meaning of images. Ironically, one of the attractions of the photograph, its apparent accessibility (and implied objectivity), dissolves into subjectivity when closely ‘read.’ Since we cannot readily agree about photography's meaning and content we tend to discard or marginalize its use as data. Obviously I am overstating the case somewhat. We have of course learned to ‘read’ photographs; this is the reason we can recognize a tree as a tree. But compared to the way we have learned to read text, we read images in haphazard and non-systematic ways. Outside art history and cinema courses, image reading is rarely taught systematically.
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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 (December 14, 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 initially concerned the relationships between original paintings and photographs much more than those among paintings themselves.
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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 (April 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 photographic surveyed for architectural forms. The analysis was carried out descriptively using an ethnographic domain analysis technique approach. Preliminary findings from this study were that physical architectural features that reflect the local culture are the same or almost the same as Balinese architecture. A form of tolerance was also found in the form of artifacts that reflected the diversity of the population of Kampung Kusamba in the past. Oral histories of the past as a manifestation of the intangible landscape also showed the attitude and tolerance of the people of Kampung Kusamba and the people who live in Bali respectively. Moreover, there was also a story that shows the position and special relationship of Kampung Kusamba with Klungkung Royal.
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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 (June 29, 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 sources and urban and architectural documentation. So, this article presents the first documentation of the tangible characteristics of both urban morphology and architectural typology. Site visits, oral documentation, photographic records and a 3D Faro scanner with a 130 m range were utilized to record and document the physical environment.
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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 (April 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 contexts of everyday life. The essay takes interest in how these frameworks also shift as the iterative work unfolds in new temporal and geographical locations, ultimately emphasising the interrelationship between author, narrative, and wider contextual frameworks. The essay then moves to consider how the narratives spurred in the art-making process continue to evolve in the author’s absence and in relationship to subsequent audiences. The essay posits itself as a metanarrative in that it acts as an extension of the artwork it is discussing. As such, the essay employs the same photographic images that form the material nexus of Home Ground (as originally exhibited), thereby further extending the narratives contained in them via the medium of this written text itself.
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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 (September 10, 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 peoples of the tropical Americas. Relevant cultural texts produced in the region support experimentations with mangroves as a raw material susceptible to being worked in order to explain diverse realities. In order to highlight the relevance and malleability of mangrove ecosystems, this paper explores resignifications of socioecological interactions at the Ecological Mangrove Reserve Cayapas-Mataje in Ecuador through the lens of photographer Felipe Jácome. Jácome’s photographic essay Los Reyes del Manglar [The Kings of the Mangrove] provides rich material to study the rhizomatic evolution of the theme of the mangrove and its entanglements with people’s lives, cultures and histories. I argue that cultural representations of mangroves can go beyond their metaphorical recovery to support environmental justice. This essay is also informed by extant research on the important role of mangrove forests for carbon sequestration and climate change mitigation, which locates these socioecological systems at the centre of people’s struggle for climate justice.
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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 photographies and the Ecole nationale de la photographie, in collections and exhibitions of photographs, and recently in the use made of videodiscs, by both museums and libraries, as a means of storing images and making them accessible. Telecommunications offer the prospect of online access to a network linking image collections together as a single visual resource. The most serious obstacles to be overcome are neither technological nor financial: the legal question of copyright has to be addressed, while the muted interest of historians does not as yet represent an overwhelming demand for such a service, and much may depend on librarians to stimulate the enthusiasm of potential users.
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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. Fetter (USA, 1930-1991). In 1992, according to his will, the entire archive, including photographs, was transferred to the library of the Duke University. Thus, the attention is focused on the library activities in acquisition, storage, accounting, and usage of Frank W. Fetter’s photographs (1992 - present). In this context, 2008 is of particular importance: it is then that the photographs were scanned and published on the website. The study is based on content and discourse analysis of the photographs; it uses comparative method for studying Frank W. Fetter paper collection at the Duke University library and materials from Russian archives, interviews of participants in the documents transfer to archival storage and photographs digitization. Thus, in a first time case-study of a single photograph collection, the authors trace the route of photographs from their creator to their researchers. Using photographs taken in the USSR, but stored outside Russia, is to supplement the historiography with valuable information on the history of photograph collections and to consider photographic documents on the history of Soviet Russia as an item of storage in foreign archives. The article may be of interest to historians, archivists, museum specialists, curators, and all researchers studying photo documents as objects of storage.
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Vågnes, Øyvind. "A day in history: Andrea Gjestvang’s 22 July photographs." Journal of European Studies 47, no. 4 (October 24, 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 John Lucaites, Susie Linfield and John Roberts) as well as an interview with photographer Andrea Gjestvang, this article is an attempt to come to terms with how the ‘image-text’ in En dag i historien invites a form of committed spectatorship that unfolds over time.
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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 (November 11, 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 narrative texts and photographic images in the GMRD’s in-house newsletter, the Clipper, dating from 1964 until the end of 1967. They meld an autoethnography to this technique, providing space for the first author to share her experiences within the contemporary space industry in relation to the GMRD White women experiences. Findings The authors surface, in applying this combined methodology, a story about a White women’s historical, present and future cisgender social reality in the North American space industry. They are contributing then to a multi-voiced, cisgender/ethnic “historic turn” that, to date, is focused on White men alone in the US race to the moon. Social implications The social implication of this study lies in challenging perceptions of the masculinist-gendering of the past by bringing forward tales of, and by, women. This study also brings a White woman’s voice forward, within a contemporary North American space industry organization. Originality/value The authors are making a three-fold contribution to this special issue, and to an understandings of gendered/ethnic multi-voiced histories. The authors untangle the mid-Cold War phase from the essentialized Cold War era. They recreate multi-voiced histories of White women within the North American space industry while adding an important contemporary voice. They also present a novel methodology that combines the technology of lamination with autoethnography, to provide a gateway to recognizing the impact of multi-voiced histories onto contemporary and future gendered/ethnic relationships.
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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 ethnic, confessional identities or cultural characteristics of various population groups. Thus, turn to the film and photo documents helps better understanding the collective self-perception of Soviet believers and finding the ways to present themselves to the surrounding world. The purpose of this study is to study the informational possibilities of photographic documents on the history of Evangelical Christian-Baptists in the USSR in the 1970s. The main historical sources in the study are two photographs from the mid-1970s. They are kept in the church of evangelistic Christians-Baptists in the city of Perm. Archival documents of the State Archives of Perm Krai and confessional literature helped to reconstruct the historical context of photography. Conversations with a presbyter of the Perm community of Evangelical Christians-Baptists helped in attribution of photographs. The author believes that these photographs formed the iconographic image of the ECB church in the space of the Soviet city. The active use of these photographs in the post-Soviet period testifies the high “symbolic efficiency” (P. Bourdieu) of photographic communication from the past.
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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 (June 11, 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 artists including JR and Tomie Arai have returned to Hine’s Ellis Island work for installations that bring the past into direct dialogue with the present, confronting contemporary viewers with enlarged versions of his photographs. Hine’s pro-immigrant intentions and reputation as a social reform photographer, however, have clouded how these photographs also racialized their sitters. This article traces the circulation of a selection of Hine’s works in different contexts dating from 1905 to today, and considers them within the broader histories and theories of photography, race, and immigration.
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Dingle, Lesley. "Legal Biography, Oral History and the Cambridge Eminent Scholars Archive (ESA)." Legal Information Management 14, no. 1 (March 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 early lives, careers and published works; compiling a cross-indexed reference of personalities mentioned in interviews; and generating an awareness amongst students and younger staff of the rich heritage of the Faculty. The methodology and strategy of conducting interviews and compiling entries is briefly described. Finally, in the broader context of legal biography, it is argued that such oral histories are an essential component because they capture aspects of personality that written accounts cannot and thereby reveal traits that conventional biographies may miss. This claim is illustrated by selected examples from the archive, that currently contains twenty interviewees.
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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 transformation matrix were calculated using an axis system defined for the joint. Summation of the incremental Eulerian rotations produced the angular position of the joint in terms of the standard axes. This procedure is illustrated by applying it to joint motion of the ankle, the spine, and the neck of crash dummies during impact tests. The methodology exhibited an accuracy of less than 5% error, improved flexibility over photographic techniques, and the ability to examine 3-dimensional motion.
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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 (October 3, 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 friendship with Joseph Lister led to his early use of Listerian antisepsis, which further improved these results. Yet, his medical colleagues and his obituarists seemed unaware of his other significant pioneering contribution, as a gifted photographer and pioneer of the waxed paper technique of photographic processing. That same attention to detail resulted in photographs of the highest quality whose significance has since been appreciated by photographic historians.
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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 (October 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 abundance estimate of $\widehat{N}(\widehat{SE}[\widehat{N}])$ = 19 (9.65) tigers. The sampled area of $\widehat{A}(W)(\widehat{SE}[\widehat{A}(W)])$ = 477.2 (58.24) km2 yielded a density estimate of $\widehat{D}(\widehat{SE}[\widehat{D}])$ = 3.98 (0.51) tigers per 100 km2. Huai Kha Khaeng Wildlife Sanctuary could therefore hold 113 tigers and the entire Western Forest Complex c. 720 tigers. Although based on field protocols that constrained us to use sub-optimal analyses, this estimated tiger density is comparable to tiger densities in Indian reserves that support moderate prey abundances. However, tiger densities in well-protected Indian reserves with high prey abundances are three times higher. If given adequate protection we believe that the Western Forest Complex of Thailand could potentially harbour >2,000 wild tigers, highlighting its importance for global tiger conservation. The monitoring approaches we recommend here would be useful for managing this tiger population.
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Vedel, Karen Arnfred. "The Performance of Pictorialist Dance Photography." Nordic Theatre Studies 29, no. 1 (December 27, 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 analysis downplays the question of content in favor of a focus on the material practices in the photographic studio at the level of the photographer as well as the dancer-model posing before the camera. Placed within a discourse of new materialism, performance and performativity, it moreover considers the resulting photos as material objects that perform in continuing processes of meaning production. An example of the latter discussed at the end of the text is Harald Giersing’s abstract painting ’The Dancer’ based on a photo of Jenny Hasselquist as The Dying Swan.
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Vedel, Karen Arnfred. "The Performance of Pictorialist Dance Photography." Nordic Theatre Studies 29, no. 1 (January 27, 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 analysis downplays the question of content in favor of a focus on the material practices in the photographic studio at the level of the photographer as well as the dancer-model posing before the camera. Placed within a discourse of new materialism, performance and performativity, it moreover considers the resulting photos as material objects that perform in continuing processes of meaning production. An example of the latter discussed at the end of the text is Harald Giersing’s abstract painting ’The Dancer’ based on a photo of Jenny Hasselquist as The Dying Swan.
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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, mediated) event open to non-normative identifications and desires. Biopics of women demand a shift in focus from representation to performance, both in relation to the actor’s function as the cornerstone of the biographical fiction and in relation to the performativity of the genre itself. Drawing on Landsberg (2015), I argue that new women’s biopics stage encounters between the spectator and the historical figure through different forms of mediation. In this respect, I examine the modalities of reflexive performance in connection with queer bodies and subjectivities in the first three films cited above, before moving on to a case study on Colette. Colette largely plays in the mid-Atlantic idiom of the postfeminist biopic (Polaschek 2013), including a non-imitative star turn by Keira Knightley, whose star persona is briefly analysed, yet the film’s queerness entertains a complex relationship with this postfeminist framework. While queer identities risk becoming diluted into the standard trajectory of female emancipation proposed by the film (a narrative invested with added urgency in the post-#MeToo moment), performance inflects this narrative differently: the intermedial mise-en-scène (particularly photographic posing, theatre, and dance) makes Colette a biopic equally concerned with the retrieval of women’s histories as with the production of the queer female self against the backdrop of patriarchal cultural industries.