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Relevant bibliographies by topics / Photography and memory

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Academic literature on the topic 'Photography and memory'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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Journal articles on the topic "Photography and memory"

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Flint, Kate. "Photographic Memory." Articles, no. 53 (May 12, 2009): 0. http://dx.doi.org/10.7202/029898ar.

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Abstract In this essay, I discuss the relationship between photography, photographic technology, and memory in the final decades of the nineteenth century. I do so first in relation to the desire to possess actual material memories of the deceased, and then move to consider the way in which the photograph was often used as a metaphor for the processes of memory. I argue that apart from exceptional cases, this was, in fact, a false analogy. Taking Amy Levy’s 1888 novel The Romance of a Shop as a text through which to examine both death-bed photography and the workings of memory, I explore the idea of the memory flashing back, suddenly, and link this to the developments that took place in flash photography at the time that Levy was researching her photographically-themed novel. The metaphor of the flash – and the flash-back – has proved of more lasting value in the semantic linking of photography and memory, I argue, than other attempts to link the materiality of the photographic process to the workings of the brain.

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Noble, Anne, and Geoffrey Batchen. "Had We Lived ... Phantasms & Nieves Penitentes: Conversation between Anne Noble and Geoffrey Batchen." Grimace, Vol. 2, no. 1 (2017): 20–29. http://dx.doi.org/10.47659/m2.020.art.

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In the conversation, two of the most prominent New Zealand authors in the field of photography talk about the body of work of Anne Noble’s Antarctica photography projects. Had we lived is a re-photographic project reflecting on the tragedies of heroic age exploration (commemorating the centenary of the deaths of Robert Falcon Scott and his men on their return from the South Pole – Terra Nova Expedition or British Antarctic Expedition to the South Pole, 1912) and on the memory of Erebus tragedy of 1975, when a tourist plane flying over Antarctica crashed into Mt Erebus, killing all 257 people on board. Anne Noble re-photographed image taken by Herbert Bowers at the South Pole – the photograph of Scott and his men taken after they arrived at the South Pole to find Amundsen had already been and gone. Phantasms and Nieves Penitentes projects hint at the triumph of Antarctica over human endeavour and as a non-explorer type herself photographer Anne Noble states: “I rather liked this perverse reversal”. Both tragic events have a notable relationship to photography – Erebus in particular, as those who died were likely looking out of the aeroplane windows taking photographs at the time of impact. This relationship is addressed throughout the conversation between the two, providing an insightful commentary on the questions of authenticity, documentary value and the capacity of photography to exist in the in-between spaces of thoughtful imagining, and rational dreaming. Keywords: Antarctica, authenticity, documentary, photographic imaginary, re-photographing

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Pabedinskas, Tomas. "Personal Photo Album and Collective Memory: The Case of Romualdas Požerskis’ Photographs and Diary." Art History & Criticism 16, no. 1 (December 1, 2020): 115–24. http://dx.doi.org/10.2478/mik-2020-0008.

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SummaryHistory and memory have been the conceptual core of many Lithuanian photography based contemporary art works as well as international curatorial art projects, including authors from different Baltic countries. On the one hand, this indicates the relevance of the subject related to photography and memory; on the other hand, it also shows the overexploitation of personal and historical memory in contemporary photography and in contemporary art in general.In this context the article analyses Romualdas Požerskis’ personal album photographs from the years 1971–1975 and his written diaries from the years 1965–1985. The photographs captured Požerskis’ and his friends’ leisure activities, mainly rides on motorcycles across Lithuania and one trip to Tallinn, Estonia. The diary reflects the key historical events of the time, describes Požerskis’ attitude to it and reveals his personal emotional, intimate experiences. The beginning of the seventies was the time when the now famous Lithuanian photographer Požerskis was still a student, who did not consider himself a creative photographer. However, his photographs and diary from this period have been published in a book “Restless Riders” in 2017 putting this visual and written material in between the private and the public, and in between creative photography field and visual history of the country’s past.The aim of the article is to show how personal photography can help to restore or even create collective memory. To reach this aim the article addresses the respective tasks of explaining the importance of photography’s emotional content in building up a collective memory and revealing how the way in which Požerskis’ personal photo album and private diaries relate to collective memory is distinctive in the context of photography-based Baltic contemporary art.The article claims that the “Restless Riders” case is different because of its emotional content unmediated by interdisciplinary presentation, art’s conceptual framework or amendments to its visual form. Although it is impossible for the beholder to restore the emotional experience of the author, it is not difficult to let the photographs trigger his or her own memories or imaginary vision of the past. This in turn fills the personal story of photographer with emotion and lets it be seen as part of a liveable historical narrative. This narrative, visualized and made public has the potential to add up to the cultural myth, or in other words, common memory and assumptions, which support the identity of community and nation.

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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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Thompson, Krista. "The Evidence of Things Not Photographed: Slavery and Historical Memory in the British West Indies." Representations 113, no. 1 (2011): 39–71. http://dx.doi.org/10.1525/rep.2011.113.1.39.

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Slavery and apprenticeship came to an end in the British West Indies in 1838, the year photography was developed as a fixed representational process. No photographs of slavery in the region exist or have been found. Despite this visual lacuna, some recent historical accounts of slavery reproduce photographs that seem to present the period in photographic form. Typically these images date to the late nineteenth century. Rather than see such uses of photography as flawed, or the absence of a photographic archive as prohibitive to the historical construction of slavery, both circumstances generate new understandings of slavery and its connection to post-emancipation economies, of history and its relationship to photography, and of archival absence and its representational possibilities.

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Jarmołowicz-Dziekońska, Małgorzata. "Exilic representation and the (dis)embodied self: memory and photography in Yoshiko Uchida’s , autobiography Desert Exile: The Uprooting of a Japanese-American Family." Idea. Studia nad strukturą i rozwojem pojęć filozoficznych 31 (2019): 148–71. http://dx.doi.org/10.15290/idea.2019.31.09.

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Photography and memory seem to be inextricably bound up with each other, as photographs can invoke memories which help to excavate past moments with vivid details. Yoshiko Uchida in her autobiography, Desert Exile: The Uprooting of a Japanese-American Family (1982), delves into her past experiences through the lens of counter-memory, i.e. the memory of the minor and the subjugated. The Japanese-American author strives to recover the past by means of photographic images which—blended into written reminiscences— uncover yet another plane of articulation. Individual memory has enabled the author to chisel her own identity with textual and photographic means of self-expression. Constructing her autobiographical confession, Uchida also draws upon the collective memory of the war internment of the Japanese and Japanese Americans, which inevitably shaped her present self. A set of photographs which accompanies her account testifies that the ocular dimension can be as powerful as the textual one. Each photograph contains a stratum of data which deprives the text of its autonomy and grants it an equal status of signification.

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Kirby, Alun. "No maps for these territories: exploring philosophy of memory through photography." Estudios de Filosofía, no. 64 (July 30, 2021): 47–71. http://dx.doi.org/10.17533/udea.ef.n64a03.

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I begin by examining perception of photographs from two directions: what we think photographs are, and the aspects of mind involved when viewing photographs. Traditional photographs are shown to be mnemonic tools, and memory identified as a key part of the process by which photographs are fully perceived. Second, I describe the metamorphogram; a non-traditional photograph which fits specific, author-defined criteria for being memory. The metamorphogram is shown to be analogous to a composite of all an individual’s episodic memories. Finally, using the metamorphogram in artistic works suggests a bi-directional relationship between individual autobiographical memory and shared cultural memory. A model of this relationship fails to align with existing definitions of cultural memory, and may represent a new form: sociobiographical memory. I propose that the experiences documented here make the case for promoting a mutually beneficial relationship between philosophy and other creative disciplines, including photography.

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Wolfreys, Julian. "‘The look that gropes the objects’: Derrida's Photographs." Derrida Today 10, no. 1 (May 2017): 21–37. http://dx.doi.org/10.3366/drt.2017.0140.

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In his introduction to Copy-Archive-Signature: A Conversation on Photography published in 2009, Gerhard Richter observes that while photography is concerned, ‘like deconstruction’, with ‘questions of presentation, translation, techné, substitution, deferral, dissemination, repetition, iteration, memory, inscription, death, and mourning’, relatively little attention has been given to those texts of Derrida's that specifically address photography and the work and thought of the photograph: ‘Aletheia’, Rights of Inspection, Athens, Remains, to name the most obvious. Things have changed a little since 2009, but it remains the case that photography, with its strange logic and uncanny temporalities, situates itself in Derrida's publications as, possibly, the most performative of tropes in Derrida's writing. As Richter argues, it is available to our view as a ‘metalanguage’, through which all other questions are brought into focus. This paper therefore focuses on the photograph: the photograph in Derrida's writings and photographs of Derrida.

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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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Kazakevych, Gennadii. "Memory Factories: Professional Photography in Kyiv, 1850-1918." Text and Image: Essential Problems in Art History, no. 1 (2020): 82–101. http://dx.doi.org/10.17721/2519-4801.2020.1.06.

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The article deals with the early history of photographic industry in Kyiv as a complex cultural phenomenon. Special attention is focused on the portrait photography as a ‘technology of memory’. It involves methods of social history of art, prosopography and visual anthropology. The study is based on the wide scope of archival documents, including the correspondence of publishing facilities inspector, who supervised the photographic activity in Kyiv from 1888 to 1909. By the early 20th century, making, collecting, displaying and exchanging the photographic portraits became an important memorial practice for townspeople throughout the world. In the pre-WWI Kyiv dozens of ateliers produced photographic portraits in large quantities. While the urbanization and economic growth boosted migration activity and washed out traditional family and neighborhood networks, the photography provided an instrument for maintaining emotional connections between people. The author emphasizes the role of a professional photographer who acted as a maker of ‘memory artifacts’ for individuals and families and, therefore, established aesthetic standards for their private visual archives. It is stated that the professional photography played a noticeable role in modernization and westernization of Kyiv. With its relatively low barrier to entry, it provided a professionalization opportunity for women, representatives of the lower social classes or discriminated ethnic groups (such as Poles after the January Insurrection, and Jews). While working in a competitive environment, photographers had to adopt new technologies, improve business processes and increase their own educational level. At the same time, their artistic freedom was rather limited. The style of photographic portrait was inherited from the Eighteen and Nineteen-century academic art, so it is usually hard to distinguish photographic portraits made in Kyiv or in any other European city of that period. Body language of models, their clothing and personal adornments as well as studio decorations and accessories aimed to construct the image of successful individuals, faithful friends, closely tied family members with their own strictly defined social roles etc. The old-fashioned style of the early twentieth century portraiture shaped the visual aesthetics of photographic portrait that was noticeable enough even several decades later.

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Dissertations / Theses on the topic "Photography and memory"

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Kanar, Ege. "Photography as artificial memory: Construction of the Photographic Self." Master's thesis, Akademie múzických umění v Praze. Filmová a televizní fakulta AMU. Knihovna, 2008. http://www.nusl.cz/ntk/nusl-78095.

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Coombes, Justin. "Photography, memory and ekphrasis." Thesis, Royal College of Art, 2012. http://researchonline.rca.ac.uk/1280/.

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Recollected Places: Photography, Memory and Ekphrasis. The practice component of my PhD, ‘Recollected Places’, consists of exhibitions combining my work as an artist in still photography, video and installation and books that combine text and the photographic image. My written thesis, ‘Photography, Memory and Ekphrasis’ looks at a number of artworks from the 1950s to the present day which employ the photography-ekphrasis relationship. ‘Ekphrasis’ is the verbal description of visual works of art, for example, Homer's imaginary evocation of Achilles' shield in The Iliad. It became the object of intense academic scrutiny during the 1980s, as part of cultural theory’s emergent ‘visual turn’ and its attendant concentration upon image-text relations. The Iliad’s extended description of the shield, and the world of peace that it describes, are noticeably different from the ‘real’ events of the Trojan wars described throughout the rest of the poem. However, the ekphrastic scenes, whilst being distinctly different in tone, are arguably as ‘lifelike’ as the rest of the action described. So, from this very earliest recorded instance of ekphrasis, we can see how the mode opens up fundamental ontological questions about art and its place in the world that would be highlighted by conceptual art almost three millennia later. What holds more presence? The physical work itself, or the idea of the work? In a similar fashion, the invention of photography raised questions that were not methodically articulated until the 1980s. Thus a body of research from the early 1990s onwards has addressed the relationship between ekphrasis and photography. However, the vast majority focuses on ekphrastic writing about photography: ‘poems for photographs’, in James Heffernan’s phrase. The small extant literature that focuses on photography’s relationship to ekphrasis tends to emphasise the technical aspects of the medium. My research is both the first book-length study that I am aware of to examine ekphrasis’s relationship to photography and the first such study that I know of to be written by a practising visual artist. I consider recent writing on ekphrasis through the prism of various psychoanalytic theories, particularly those from recent debates on photography and melancholia. I examine the absence of the ‘lost object’ that is both the very condition for ekphrasis and melancholia and a precondition of all photographs: simultaneously trace of the object and reminder of its absence.

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Shirley, Anne. "What a photograph and cannot do exegesis submitted in partial fulfilment of requirements for the degree Master of Art and Design, to Auckland University of Technology, 2008." Click here to access this resource online, 2008. http://hdl.handle.net/10292/455.

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Morris, Frank William. "Parallax (memory as a torn page)." Virtual Press, 1985. http://liblink.bsu.edu/uhtbin/catkey/491451.

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The purpose of this creative project was to explore the possibilities of words and photographic images in expressing mood. The particular mood that was to be expressed came from the observation of small rituals. These small rituals are an avenue that humans tend to derive meaning and continuity. Beyond this, the use of the Platinum/ Palladium photographic process as an expressive tool was examined.

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Allnutt, Susann. "Knowing my place: learning through memory and photography." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32547.

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This arts-informed inquiry uses auto-photography, rephotography, interviews, memory work and writing about the photograph as tools to draw out of the archive an understanding of the self-in-place. I focus on memory and photography in an autotopographical (following Heddon) exploration of topographical intimacy as it relates to childhood and current landscapes, known and unknown spaces. Using place as common ground, I interview my siblings to excavate our shared childhood place memories. I then photograph/rephotograph these remembered childhood places, looking to identify the influence of place on childhood identity. This research with siblings was a rich and storied resource. I also enter two public spaces with my camera, the Architectural Garden of the Canadian Centre for Architecture in Montreal and the Jim Everett Memorial Park in Vancouver, to map both the place and my relationship with/in it, and in so doing, to engage with photography itself. By creating what one might call place photo albums, I attempt to create an involvement with previously unknown spaces, hoping to link past and present places. I explore the evidential and embodied usefulness of photography in establishing topographical intimacy with/in place and confirm the importance of using place as a means of exploring identity. Photography's use as an active device of memory and its value in documenting place for inquiry is made explicit.
Cette recherche faite en connaissance des arts utilise l'auto-photographie, la rephotographie, des entrevues et un travail de mémoire et d'écrit sur la photo en tant qu'outil permettant de soutirer des archives une compréhension du soi dans l'espace. Je porte attention à la mémoire et à la photographie d'une manière auto-topographique (selon Heddon), tout en explorant l'intimité topographique liée aux paysages de l'enfance et de la vie actuelle, aux espaces connus et inconnus. Utilisant le lieu comme cadre conceptuel commun, j'ai interviewé ma sœur et mes frères afin de fouiller nos mémoires partagées des lieux communs à notre enfance. J'ai par la suite photographié/rephotographié ces lieux de souvenirs d'enfance tout en essayant d'identifier l'influence que porte le lieu sur l'identité de l'enfance. Cette recherche avec ma sœur et mes frères fût une ressource riche en récits. De plus, j'ai visité deux lieux publics avec mon appareil photographique, le Jardin architectural du Centre canadien d'architecture de Montréal et le Jim Everett Memorial Park de Vancouver afin de représenter le lieu et le rapport que j'entretiens avec/dans ces lieux, ceci me permettant de m'investir directement à la photographie. En créant ce que l'on pourrait appeler des albums de photos de lieux, j'essaie de créer une participation avec les espaces auparavant inconnus tout en espérant pouvoir relier les lieux du passé à ceux du present. J'explore l'utilité évidente et incarnée de la photographie dans la création de l'intimité topographique avec/dans un lieu tout en confirmant l'importance de l'utilisation d'un lieu afin d'explorer l'identité. L'utilisation$

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Flynn, Sarah Justine. "A 21st century campus aesthetic: photography, memory, performance." Kansas State University, 2013. http://hdl.handle.net/2097/15593.

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Master of Landscape Architecture
Department of Landscape Architecture/Regional and Community Planning
Laurence A. Clement, Jr.
Advancements in technology, architecture, landscape, planning and design, and education are being pursued in the 21st century. Unfortunately, the campuses of higher education institutions, which promote such advancements, do not reflect the vision of innovation and creativity. Rather, the exterior environments on college campuses portray a 19th century gardenesque landscape aesthetic, which emphasizes a “park-like” appearance and discounts ecological functions. The Kansas State University campus evidences a gardenesque aesthetic that arguably is not performing socially or ecologically to its fullest potential. This Master’s Project and Report uses an open space on K-State’s campus, Coffman Commons, to challenge its aesthetic performance. Campus landscape aesthetic performance can be improved by designing a community amenity that celebrates ecological processes, especially regarding stormwater, and involves the campus community in the design process. A conceptual framework, rooted in the Vitruvian Triad, directs the project’s methodology. Methods of photojournalism and design are conducted. Photojournalism is used to collect aesthetic responses of Coffman Commons from K-State students, faculty, and staff. Their photographic and textual responses inform the design process. The photography method allows each participant to confer importance to aspects of the landscape that moved them. Through photographic coding and content analysis, commonalities are discovered in the landscape with which each person identifies. The participants’ written descriptions further inform an understanding of expectations and hopes for Coffman Commons. Influenced by the photographic research and guided by set goals and objectives, the design method allows the innovation of a contextually specific and personable design solution for Coffman Commons. The design exhibits two community amenities which invite social activity to Coffman Commons. The amenities incorporate visible water systems (rain gardens and dry swales) - increasing the ecological performance of the Commons, and provide research opportunities for piezoelectric technology. The design also features inscriptions which honor Dr. Coffman and K-State Distinguished Faculty. This Master’s Project and Report transforms a gardensque campus landscape into a high-performance landscape that responsibly manages stormwater and enriches user experience.

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Fawns, Timothy James. "Blended memory : distributed remembering and forgetting through digital photography." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/22989.

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This thesis explores practices and experiences of using photography to support remembering. While the increasing use of photography is well documented, we have limited theoretical understanding of how we approach the taking, organising, and sharing of personal images in relation to memory, and of the opportunities and risks that are created through technological change. Two studies were conducted in which a total of 21 participants were interviewed in front of a sample of their photographs. Study 1 explored photography and remembering around a single, specific event: a wedding. Study 2 explored longer-term patterns of photographic and remembering activity across a range of contexts and events. The analysis showed that the ways that participants engaged with other people and technologies were significant in determining the kinds of photographs that were produced, and the engagement with those photos. Photographic practices were also heavily influenced by the situations in which they were performed and the beliefs and preferences of individuals. The existence of photographs could lead to thinking about particular aspects of the past, but the taking of photographs also altered the experience of what was being photographed. This could be seen as disruptive, depending on the participant’s beliefs about whether photography was a legitimate part of experience. When taking photos, participants pursued a mix of aesthetics, objectivity, and personal meaning, and perceptions of these qualities could influence the way that photographs were used in cueing recall. However, while most participants had produced large collections of photographs, there had been limited engagement with these and taking or having photographs could be more important than looking at them. The thesis concludes that there is value in redefining memory as a kind of activity that emerges through the performance of remembering and that is dependent on the tools used to support it and the situations in which it is performed. From this perspective, photography and autobiographical remembering are parts of the same wider activity, an inseparable blend of internal and external processes. As such, attempts to support our memories should consider both the features of technology and the experience of using it, as well as the ways that we work with tools and people when remembering.

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Darnell, Amy Lynn. "Pencils of Light: Family, Photography, and Performance." Available to subscribers only, 2009. http://proquest.umi.com/pqdweb?did=1791777591&sid=2&Fmt=2&clientId=1509&RQT=309&VName=PQD.

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Thesis (Ph. D.)--Southern Illinois University Carbondale, 2009.
"Department of Speech Communication." Keywords: Auto-performance, Cinema, Memory, Performance studies, Photographs, Photography, Family. Includes bibliographical references (p. 148-153). Also available online.

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Rawles, Erica M. "The Changing Meanings of Memory, Space, and Time in Photography." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1520.

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What happens to the memories that are left behind in photographs when the person who’s memories they are passes away? After the passing of both my mother and my grandmother, I began to notice the fleeting significance of photographs. I spent time going through boxes of pictures they had saved and every so often I would come across an old photo of someone or something that no one in my family could find a meaning behind or attach a significance to. This paper reveals how the meaning and importance of photographs shift over time from the perspective of the photographer to that of the preserver. I discuss the history of photography and its evolution from a purely scientific method of recording to fine art. I also discuss the psychology behind taking a photograph, looking at the art historical and philosophical writings of Susan Sontag and John Berger to discover how photography relates to memory, nostalgia, mortality, and the presence of the absent. Putting my own work in a historical context, I examine the works of contemporary artists dealing with similar themes of photography, physical space, and memory, such as Carmen Argote, Manal Al Dowayan, Christian Boltanski, and Doris Salcedo. For my senior project, I contemplate the mystery behind my mom's decision to photograph unsuspected places. I explore the passage of time and the vulnerability of memories as they relate to photography. Through an installation of hanging panels of photographs printed on sheer fabric, my piece works to explore these two main themes: the preservation of memory and the space that grief fills.

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Johnston, Amber. "In memory of trauma /." Online version of thesis, 2009. http://hdl.handle.net/1850/11248.

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Books on the topic "Photography and memory"

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Pickering, Michael, and Emily Keightley. Photography, Music and Memory. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137441218.

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Shevchenko, Olga. Double exposure: Memory & photography. New Brunswick: Transaction Publishers, 2014.

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Landscapes without memory. New York: Aperture, 2005.

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Fontcuberta, Joan. Landscapes without memory. New York: Aperture, 2005.

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Photographic memory: The album in the age of photography. New York, N.Y: Aperture, 2011.

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Prosthetic culture: Photography, memory and identity. London: Routledge, 1998.

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Garrett, Susan. Quick-eyed love: Photography and memory. Dallas: Southern Methodist University Press, 2005.

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Malanga, Gerard. Gerard Malanga: Resistance to memory. Santa Fe, N.M: Arena Editions, 1998.

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Caoimhín, Mac Giolla Léith, Doherty Willie, and Irish Museum of Modern Art (Kilmainham, Dublin, Ireland), eds. Willie Doherty: False memory. London: Merrell, 2002.

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Time pieces: Photographs, writing, and memory. New York, NY: Aperture, 1989.

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Book chapters on the topic "Photography and memory"

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Bogre, Michelle. "Documentary Photography and Memory." In Documentary Photography Reconsidered, 72–119. London; New York: Bloomsbury Visual Arts, an imprint of Bloomsbury Publishing, Plc, 2019.: Routledge, 2020. http://dx.doi.org/10.4324/9781003103516-2.

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Pickering, Michael, and Emily Keightley. "Media and Memory." In Photography, Music and Memory, 33–60. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137441218_2.

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Möller, Frank. "Memory, Truth and Justice: On Forensic Photography." In Peace Photography, 159–84. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-03222-7_7.

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Umbach, Maiken, and Scott Sulzener. "Exile, Memory, and Irony." In Photography, Migration and Identity, 93–114. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-00784-3_6.

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Smith, Tina, and Jenny Marsden. "Photographs and Memory Making." In Women and Photography in Africa, 163–89. Abingdon, Oxon ; New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003087410-12.

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Pickering, Michael, and Emily Keightley. "Introduction." In Photography, Music and Memory, 1–32. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137441218_1.

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Pickering, Michael, and Emily Keightley. "Resources for Remembering." In Photography, Music and Memory, 61–105. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137441218_3.

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Pickering, Michael, and Emily Keightley. "Purpose and Meaning." In Photography, Music and Memory, 106–47. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137441218_4.

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Pickering, Michael, and Emily Keightley. "Value and Significance." In Photography, Music and Memory, 148–79. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137441218_5.

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Pickering, Michael, and Emily Keightley. "Pieces of the Past." In Photography, Music and Memory, 180–87. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137441218_6.

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Conference papers on the topic "Photography and memory"

1

Shiu, Eric, and SukHwan Lim. "Driving Innovation in Memory Architecture of Consumer Hardware with Digital Photography and Machine Intelligence Use Cases." In 2017 IEEE International Memory Workshop (IMW). IEEE, 2017. http://dx.doi.org/10.1109/imw.2017.7939078.

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Bure, Vladimir M., and Olga A. Mitrofanova. "Analysis of color characteristics of plants using aerial photography." In 2017 Constructive Nonsmooth Analysis and Related Topics (dedicated to the memory of V.F. Demyanov) (CNSA). IEEE, 2017. http://dx.doi.org/10.1109/cnsa.2017.7973945.

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Tikhonov, Igor'. "Role of photography in studies of the history of archaeology." In Monuments of archaeology in studies and photographs (in the memory of Galina Vatslavna Dluzhnevskaya). Institute for the History of Material Culture Russian Academy of Sciences, 2018. http://dx.doi.org/10.31600/978-5-907053-08-3-2018-185-193.

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Kiefer, Renaud, Y. Takakura, J. Fontaine, El Hafidi, P. C. Montgomery, and P. Meyrueis. "Association of acousto-optic and microscanning mirrors for diffractive memory high-speed reading." In 25th international Congress on High-Speed photography and Photonics, edited by Claude Cavailler, Graham P. Haddleton, and Manfred Hugenschmidt. SPIE, 2003. http://dx.doi.org/10.1117/12.516726.

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Vyssogorets, Mikhail V., Natalya N. Mitrofanova, Mikhail Y. Petrov, Valeri N. Platonov, and Alexey D. Chulkin. "Peculiarities of frame memory design for slow-scan readout system for scientific application." In 19th Intl Congress on High-Speed Photography and Photonics, edited by Peter W. W. Fuller. SPIE, 1991. http://dx.doi.org/10.1117/12.23984.

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Uyemura, Tsuneyoshi, Yuehua Wu, Yusheng Zhou, and Jie Yang. "Research on macroeffects and micromechanism of martensite phase transition of shape memory alloys by high-speed photography." In 19th Intl Congress on High-Speed Photography and Photonics. SPIE, 1991. http://dx.doi.org/10.1117/12.24082.

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Yang, Jie, Yuehua Wu, and Tsuneyoshi Uyemura. "Recent research on the elastic unstableness of shape memory alloy in martensite transformation by micro-high-speed photography." In 20th International Congress on High Speed Photography and Photonics, edited by John M. Dewey and Roberto G. Racca. SPIE, 1993. http://dx.doi.org/10.1117/12.145838.

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Hillman, John M. "Ten Things to Take: A community education project to re-image space place @ memory using digital photography." In Electronic Visualisation and the Arts (EVA 2013). BCS Learning & Development, 2013. http://dx.doi.org/10.14236/ewic/eva2013.55.

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Beletskiy, Sergej. "Unknown photographs of Pskov of 1946." In Monuments of archaeology in studies and photographs (in the memory of Galina Vatslavna Dluzhnevskaya). Institute for the History of Material Culture Russian Academy of Sciences, 2018. http://dx.doi.org/10.31600/978-5-907053-08-3-2018-280-284.

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Durrant, Abigail C. "Designing domestic photographic experiences to support autobiographical memory." In the 6th ACM SIGCHI conference. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1254960.1255017.

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