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Books on the topic 'Photographic representation'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Vincent, Lavoie, Dorenbaum David, Choinière France 1967-, and Dazibao (Art gallery), eds. Shock waves: Photography rocks representation. Dazibao, 2003.

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2

Sroka, Iris E. Young children's photographic practice: Representation and world knowledge. UMI Dissertation Services, 2002.

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3

Wielinga, Alice. North Korean perspectives: An exhibition on our perception of North Korea through photographic representation. Stichting Aurora Borealis, 2015.

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4

Murkin, Susan. Breathing out: A critical commentary to investigate the photographic representation of the fat body. De Montfort University, 1998.

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5

Robert, Buitrón, and Heard Museum, eds. Picarte!: Photography beyond representation. Heard Museum, 2003.

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6

Brenner, Frédéric. Jews, America: A representation. Harry N. Abrams, 1996.

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7

Tagg, John. The burden of representation: Essays on photographies and histories. University of Minnesota Press, 1993.

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8

Knape, Gunilla, Tyrone Martinsson, Louise Wolthers, and Hans Hedberg. Auto: Self-representation and digital photography. Edited by Erna and Victor Hasselblad Foundation and Göteborgs universitet. Högskolan för fotografi. Art and Theory Publishing, 2014.

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9

Dewdney, Andrew. Racism, representation, and photography. Inner City Education Centre, 1994.

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10

1948-, Alvarado Manuel, Buscombe Edward 1941-, and Collins Richard 1946-, eds. Representation and photography: A Screen Education reader. Palgrave, 2001.

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11

von, Amelunxen Hubertus, Iglhaut Stefan, Rötzer Florian 1953-, Cassel Alexis 1964-, Siemens Kulturprogramm, and Aktionsforum Praterinsel (Munich Germany), eds. Photography after photography: Memory and representation in the digital age. G+B Arts, 1996.

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12

Rachel, Kent, ed. Masquerade: Representation and the self in contemporary art. Museum of Contemporary Art, 2006.

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13

Uniwersytet im. Adama Mickiewicza w Poznaniu. Instytut Historii, ed. Foto-historia: Fotografia w przedstawianiu przeszłości = Photo-history : photography in representation of the past. Instytut Historii UAM, 2012.

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14

Sarah, Pink, Kürti László, and Afonso Ana Isabel 1960-, eds. Working images: Visual research and representation in ethnography. Routledge, 2004.

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15

Qatar, VCU. Self-representation in the Arabian Gulf: Perspectives in photography and video. Virginia Commonwealth University in Qatar, 2007.

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16

Tammi, Maija. Sick photography: Representations of sickness in art photography. Aalto University School of Arts, Design and Architecture, 2017.

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17

Johannesburg, University of, ed. Representation and spatial practices in urban South Africa. Research Centre, Visual Identities in Art and Design, Faculty of Art Design and Architecture, University of Johannesburg, 2008.

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18

Zurian, Francisco A. Leandro Allochis: El cuerpo simbólico : representación y cuerpo contemporáneo = the symbolic body : representation and contemporary body. [publisher not identified], 2017.

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19

Tadiar, Neferti Xina M. 1964- and Davis Angela Y. 1944-, eds. Beyond the frame: Women of color and visual representations. Palgrave Macmillan, 2005.

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20

A, Landgrebe D., and United States. National Aeronautics and Space Administration., eds. On-line object feature extraction for multispectral scene representation. School of Electrical Engineering, Purdue University ; [Washington, DC, 1988.

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21

A, Landgrebe D., and United States. National Aeronautics and Space Administration., eds. On-line object feature extraction for multispectral scene representation. School of Electrical Engineering, Purdue University ; [Washington, DC, 1988.

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22

Faris, James C. Navajo and photography: A critical history of the representation of an American people. University of New Mexico Press, 1996.

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23

The burden of representation: Essays on photographies and histories. University of Minnesota Press, 1993.

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24

The burden of representation: Essays on photographies and histories. University of Massachusetts Press, 1988.

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25

Deschler Canossi, Lesly, and Zoraida Lopez-Diago, eds. Black Matrilineage, Photography, and Representation. Leuven University Press, 2022. http://dx.doi.org/10.11116/9789461664631.

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Black Matrilineage, Photography, and Representation questions how the Black female body, specifically the Black maternal body, navigates interlocking structures that place a false narrative on her body and that of her maternal ancestors. Drawing on a wide range of scholarly inquiry and contemporary art, this book addresses these misconceptions and fills in the gaps that exist in the photographic representation of Black motherhood, mothering, and mutual care within Black communities. The essays and interviews, paired with a curated selection of images, address the complicated relationship betwe

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26

Factory Photo-Books: The Self-Representation of the Factory in Photographic Publications. NAi Uitgevers / Publishers Stichting, 2024.

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27

Kratz, Corinne A. Ones That Are Wanted: Communication and the Politics of Representation in a Photographic Exhibition. University of California Press, 2001.

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28

Ikōsuru imēji: 1980-nendai no eizō hyōgen = Images in transition : photographic representation in the eighties. Kyōto Kokuritsu Kindai Bijutsukan, 1990.

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29

Kratz, Corinne. The Ones That Are Wanted: Communication and the Politics of Representation in a Photographic Exhibition. University of California Press, 2001.

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30

The ones that are wanted: Communication and the politics of representation in a photographic exhibition. University of California Press, 2002.

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31

Ikosuru imeji: 1980-nendai no eizo hyogen = Images in transition : Photographic representation in the eighties. Kyoto Kokuritsu Kindai Bijutsukan, 1990.

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32

Kratz, Corinne. The Ones That Are Wanted: Communication and the Politics of Representation in a Photographic Exhibition. University of California Press, 2001.

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33

Finnegan, Cara A. The Presence of Unknown Soldiers and Imaginary Spirits. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039263.003.0002.

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This chapter analyzes close readings of photographs of the battlefield dead at Antietam, published accounts of photographs of unknown soldiers, and public commentary and trial transcripts related to the practice of spirit photography. Such photographs posed considerable reading problems for viewers who were unaccustomed to the idea of photographic representations of death and the afterlife. In a time of national crisis, grief, and trauma, viewers made sense of such images by drawing on their recognition of photography's capacity to produce presence. The chapter first provides an overview of Ci

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34

Collenberg-González, Carrie, and Martin P. Sheehan, eds. Moving Frames: Photographs in German Cinema. Berghahn Books, 2022. http://dx.doi.org/10.3167/9781800733763.

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As the building blocks of moving pictures, photographs have played an integral role in cinema since the dawn of the medium—a relationship that has grown more complexly connected even as the underlying technologies continue to evolve. Moving Frames explores the use of photographs in German films from Expressionism to the Berlin School, addressing the formal and narrative roles that photographs play as well as the cultural and historical contexts out of which these films emerged. Looking beyond and within the canon, the editors gather stimulating new insights into the politics of surveillance, r

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35

Finnegan, Cara A. Photographic Presidents. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252043796.001.0001.

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Throughout U.S. history, presidents have participated in photography as subjects, producers, and consumers of photographs. Yet few scholars have examined the 180-year relationship between presidents and photography in any depth. Photographic Presidents studies how presidents shaped and participated in transformative moments in the history of the medium: George Washington, who more than 50 years after his death emerged as a crucial subject for early photography in a nation eager to consume portraits of elite leaders; John Quincy Adams, who in the early 1840s lamented in his diary his failure to

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36

A Survey of the Representation of Prisoners in the United States: Discipline and Photographs--The Prison Experience (Studies in the Photographic Arts, V. 3). Edwin Mellen Press, 1999.

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37

Y'dewalle, Gauthier, and Francois de Coninck. Noosphere: Photographic Representations of Thought. Kehrer Verlag Heidelberg, Klaus Kehrer, 2023.

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38

IRIS The Women's Photography Project (Editor), Jane Fletcher (Editor), Kate Newton (Editor), and Catherine Fehily (Editor), eds. I Spy: Representations of Childhood. I. B. Tauris, 2000.

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39

Presentation, Representation. Verlag der Buchhandlung Walther Konig, 2008.

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40

Hornby, Louise. Resisting Arrest. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190661229.003.0002.

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This chapter examines how early filmmakers had to invent what motion looked like on screen, imagining it as distinct from stillness, legibility, or clarity. The images of motion in early film are blurred and impressionistic—ocean waves, clouds of dust, puffs of steam and smoke—which render motion itself a kind of obscurity and reveal how film is itself an ephemeral medium of dust and smoke. The precursor to film’s absent materiality is found in photography’s own representation of motion as blur in Etienne-Jules Marey’s strange late nineteenth-century photographs of smoke fillets and the moveme

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41

hoogland, renée c. Un/Becoming Claude Cahun: Zigzagging in a Pack. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474422734.003.0008.

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Considered odd, obscene, a genius nonetheless, at the time she created her best-known works, French photographer and writer Claude Cahun (1894-1950) cuts a particularly unruly figure in literary criticism and art history. Her recalcitrant faux autobiography Aveux non avenus, [Disavowals, or, Cancelled Confessions] (1930), a book of essays and recorded dreams illustrated with photomontages, have encouraged the artist’s association with High Modernism and Surrealism while her photographic self-portraits have been claimed for an affirmative (feminist) gender politics. However, the proliferous and

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42

Blasing, Molly Thomasy. Snapshots of the Soul. Cornell University Press, 2021. http://dx.doi.org/10.7591/cornell/9781501753695.001.0001.

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This book considers how photography has shaped Russian poetry from the early twentieth century to the present day. Drawing on theories of the lyric and the elegy, the social history of technology, and little-known archival materials, the book offers close readings of poems by Boris Pasternak, Marina Tsvetaeva, Joseph Brodsky, and Bella Akhmadulina, as well as by the late and post-Soviet poets Andrei Sen-Sen'kov, Arkadii Dragomoshchenko, and Kirill Medvedev, to understand their fascination with the visual language, representational power, and metaphorical possibilities offered by the camera and

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43

Tagg, John. Burden of Representation: Essays on Photographies and Histories. Palgrave Macmillan, 1988.

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44

Tagg, John. Burden of Representation: Essays on Photographies and Histories. University of Minnesota Press, 2021.

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45

Graves, Margaret S. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190695910.003.0001.

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The introduction outlines the art of the object in medieval Islam and introduces several of the book’s key concepts. It aligns architecture and the plastic arts, and shows how points of commonality between these “arts of the third dimension” are drawn allusively in the medieval Islamic context, relying not on direct morphological likeness but on indirect models of representation. It also discusses the implications of miniaturization and draws distinctions between the allusive artworks under discussion and representational objects like architectural maquettes or votive models. The introduction

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46

Sukla, Ananta C. Art and Representation. Praeger, 2000. http://dx.doi.org/10.5040/9798400614514.

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Concentrating on scholarship over the past four decades, this multidisciplinary approach to representation considers conceptual issues about representation and applies different theories to various arts. Following an introduction that traces the historical debates surrounding the concept of representation, Part One focuses on representation and language, epistemology, politics and history, sacrificial rites, possible world and postmodernism. Part Two applies current theories to painting, photography, literature, music, dance, and film. Writings highlight the vital role representation plays in

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47

La photographie: Essai pour un art indisciplinable. Presses universitaires de Vincennes, 2020.

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48

Williams, Keith. James Joyce and Cinematicity. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474402484.001.0001.

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This book investigates how the cinematic tendency of Joyce’s writing developed from popular media predating film. It explores Victorian culture’s emergent 'cinematicity' as a key creative driver of Joyce’s experimental fiction, showing how his style and themes share the cinematograph’s roots in Victorian optical entertainment and science. The book’s scope reveals and elucidates Joyce's references to optical toys, shadowgraphs, magic lanterns, panoramas, photographic analysis and film peepshows; while abundant close analysis shows how his techniques elaborated and critiqued their effects on mod

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49

1. PHOTOGRAPHING REVOLUTIONARY CAVITE. The Colonial Representation, 1896-1899. Cavite Studies Center – DLSU-Dasmariñas and Cavite Historical Society, Inc, 2016.

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50

1. PHOTOGRAPHING REVOLUTIONARY CAVITE. The Colonial Representation, 1896-1899. . Cavite Studies Center – DLSU-Dasmariñas and Cavite Historical Society, Inc, 2016.

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