Academic literature on the topic 'Social aspects of Photograph albums'
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Journal articles on the topic "Social aspects of Photograph albums"
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Macagno, Lorenzo. "Modern Intimacies and Modernist Landscapes: Chinese Photographs in Late-Colonial Mozambique." Lusotopie 19, no. 2 (June 4, 2021): 181–212. http://dx.doi.org/10.1163/17683084-12341763.
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Abstract This paper addresses a specific aspect of the social and cultural life of the Luso-Chinese in Mozambique, whose first contingents came from the Chinese province of Guangdong in the second half of the 19th century. Most settled in the city of Beira. By the 1950s, the Chinese community was already well integrated into modern life in colonial Beira. The city was going through an unprecedented urban and architectural boom. At that time, the Luso-Chinese, who were essentially merchants, also began to stand out in the field of photography. Based on a multi-sited ethnography among the Portuguese-Chinese diaspora – and their family photo albums – this paper reflects on two inseparable aspects of late-colonial modernity: architecture and photography.
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Assymova, D. B. "VISUAL HISTORY OF FAMILY PHOTOS OF KAZAKHSTAN IN THE SECOND HALF OF THE XX CENTURY." History of the Homeland 99, no. 3 (September 29, 2022): 19–27. http://dx.doi.org/10.51943/1814-6961_2022_3_19.
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This article analyzes the influence of historical aspects on the concept of family, social and emotional relations of the institution of the family, based on the consideration of family photo albums of Kazakhstan in the second half of the XXth century. The article deals with the main issues of family history, focusing on identifying their main goals and interests in family photography. Photography focuses on three areas in which most historical research is carried out today: the structure of the family and household, the group of relatives, the course of life, and the relationship between the family and social change. The images in the photo were analyzed in the context of understanding ways of adjusting to life, as well as documenting more social aspects of daily life that they could not access from other historical sources. The article also analyzes the combination of modern "classical" photography theory and modern cultural theory to show the possible interpretative implications of the analysis of family photography based on cultural theory, sociocultural anthropology, material culture studies, impact factor theory and phenomenology.
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Diane Waggoner. "Seeing Photographs in Comfort: The Social Uses of Lewis Carroll's Photograph Albums." Princeton University Library Chronicle 62, no. 3 (2001): 403. http://dx.doi.org/10.25290/prinunivlibrchro.62.3.0403.
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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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Bate, Jason. "Bonds of Kinship and Care: RAMC Photographic Albums and the Making of ‘Other’ Domestic Lives." Social History of Medicine 33, no. 3 (December 24, 2018): 772–97. http://dx.doi.org/10.1093/shm/hky120.
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Abstract This article critically interrogates the nature of facial wounds themselves, their visceral, dehumanising quality, visibility, and social meaning. Little attention has been paid to the cultural ramifications and difficult questions concerning the futures of facially injured soldiers that Britain had to address in the post-war era. Focusing on photograph albums as socially salient objects, this article challenges medical photographic archives. Building on unexplored family archives, it revises understandings of the difficulties of veterans' homecoming, and how they achieved a level of emotional recovery as they tried to find a place in the post-war social fabric. The article argues that family photographic collections show the less obvious way that the war lived on for veterans and families, its damage and how it was passed on. These private collections offer new revelations on the success or failure of the surgical interventions in their aesthetic aims.
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Fox, Paul. "An unprecedented wartime practice: Kodaking the Egyptian Sudan." Media, War & Conflict 11, no. 3 (July 13, 2017): 309–35. http://dx.doi.org/10.1177/1750635217710676.
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This article examines Kodak photographs made by participant soldiers and photographer–correspondents working in the field for the illustrated press during the concluding phase of the 1883–1898 campaign to defeat an Islamist insurgency in the Egyptian Sudan, whose leaders sought to create a regional caliphate. It explores how the presence of early generation portable cameras impacted on image making practices on British operations, and how aspects of campaign experience were subsequently represented in Kodak-derived photograph albums. With reference to graphic art and commercial photographic practices associated with Nile tourism and recent military activity in the Nile valley after 1882, the author argues, firstly, that the representation of combat was transformed by handheld photography and, secondly, that in the context of photographs of logistical activity and leisure, picturesque aesthetics were occluded by a ‘documentary’ mode of representation synonymous with the increasingly industrial nature of Western armed conflict. The article also calls attention to how photomechanical reproduction made possible the widespread availability of affordable albums for a public here identified as the readership of the illustrated general interest weeklies. More generally, the sheer number of photographs resulting from the use of Kodak technology prompted a more fluid use of montage-like techniques by album makers, for public and private use, including text and multiple image combinations, to build more dynamic visual narratives of experience on campaign than had hitherto been possible.
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Oliinyk, Ivanna. "Batyar Songs in Viktor Morozov’s Creativity." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 130 (March 18, 2021): 119–30. http://dx.doi.org/10.31318/2522-4190.2021.130.231211.
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Relevance of the study. The batyar subculture has already become the subject of many scientific works of Polish and Ukrainian researchers as a social phenomenon with its own jargon and cultural traditions. In particular, this issue has become central in the works of U. Jakubowska, A. Kozytsky, O. Kharchyshyn, Y. Vynnychuk, N. Kosmolinska, W. Szolginia and others. Batyar songs as a layer of Lviv city music got a new life thanks to the creativity of V. Morozov, realized in the publication of three albums with neobatyar songs. This group of songs and its genre and intonation parameters have not yet been at the center of musicological research and open up new perspectives for learning of genetic links between urban music and popular contemporary music in Ukraine.The purpose of the study is to analyze the genre and intonation features of Viktor Morozov’s albums, the principles of their cyclization, to explore the genetic links between batyar and neobatyar songs.Results and conclusions. Each of the three albums “Only in Lviv” (“Tilku vi Lvovi”), “Heart of the batyar” (“Serdtse batiara”) and “Batyarsky blues” (“Batiarskyi bliuz”) reveals itself as a large genre, which structure builds an expanded musical dramaturgy. In many aspects, it is connected with principles of the cyclization of academic genres, in particular, the vocal cycle and the program suite. The basis of the dramaturgy development of the albums was the method of contrast at the level of thematic, genre, tempo-metric organization. In addition, all three albums actually formed the one line of transformation of batiar songs from the authentic sound of songs from the period of the 20–30s of the twentieth century, and to new author’s — neobatyar songs, there were created on the basis of modern genres.New plots and themes of the verbal text of neobatyar songs also directly appeal to the original period of the first Lviv batyars at the beginning of the 20th century. The love adventures of the batyars, the struggle for authority and respect among the representatives of the subculture, the love for the native city, the glorification of fearlessness, life with not burdened by laws and fear became the main topics in neobatyar songs too. A characteristic local dialect is preserved, including a combination of vocabulary of various language systems; the use of lexical distortions, obscene vocabulary takes on a new embodiment through modern neologisms, borrowings. Songs are still performed exclusively by men, and the main genre outline is dance, including polkas, waltzes, tango, staer and others. The phenomenon of the double nature of batiar songs is organically embodied, where folklore and author’s songs are expressed through a combination of anonymous and original songs of the prewar period and neobatyar songs created by the authors of the albums. The nebatyars headed by V. Morozov in the albums “Only in Lviv”, “Heart of the batyar” and “Batyar blues” deliberately appeal to the layer of batyar songs, aiming to give new life to the old batyar song genre in the context of modern musical trends, to save the unique phenomenon from oblivion, rethink them in the context of the realities of our time. Thanks to the conceptual approach to the creation of the aforementioned albums, the authors managed not only to organically continue the musical traditions of batyar songs, but also to give them new life at a fresh, even brighter artistic level.
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Modenesi, Thiago Vasconcellos, and Amaro Xavier Braga Junior. "Between Territories and Borders." 9ª Arte (São Paulo) 8, no. 1 (February 17, 2019): 29–38. http://dx.doi.org/10.11606/issn.2316-9877.v8i1p29-38.
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The work is built around an essay on the use of comics in the debate of historical notions about the conflicts between the US and Mexico, the installation of the republic in Mexico, and geographic: with the perception of notions of limit, territory and frontier . It emphasizes how the geographical notions are built around a debate between nature and social behavior, historically constructed. Based on two albums of the character Lieutenant Blueberry of the French comics. Methodologically applies content analysis and hermeneutical critique to associate images and concepts. He concludes by suggesting that by way of the reading exercise and historical setting of these HQs can become an important ally in the hands of teachers who are interested in developing knowledge and skills of both geographical and historical aspects in their students.
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de-Andrés-del-Campo, Susana, Eloisa Nos-Aldas, and Agustín García-Matilla. "The transformative image. The power of a photograph for social change: The death of Aylan." Comunicar 24, no. 47 (April 1, 2016): 29–37. http://dx.doi.org/10.3916/c47-2016-03.
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This paper focuses on the role of the image as an agent for social transformation. The methodology adopted is a case study: the impact of the photograph of Aylan Kurdi, the three-year-old child drowned off Bodrum in an attempt to escape on a raft full of Syrian migrants. This is one of the most widely seen social photojournalism documents in recent times, and it had a huge impact on social media. The study applies an iconographic, iconological and ethical analysis to reveal the constituent parts of an image with the power for social change. In its main conclusions, this paper describes the potential for easy resignification of the digital graphic image as it symbolically transforms reality, and the power it has to generate processes of pronouncement and activism among citizens in digital environments. The results of the case study show that the value of an image for social change is achieved not only by the magnitude of the tragedy itself and the information that it registers, or by its formal aspects (iconographic), but mainly by being able to express a change of logic (iconological aspects) and to promote processes of reappropriation and denunciation. The ethical debate on dissemination shifts the problem from journalistic ethics to citizen responsibility. Este trabajo plantea el papel de la imagen como agente de transformación social. La metodología que se emplea es un estudio de caso sobre el impacto de la fotografía de Aylan Kurdi, el niño de tres años ahogado en el intento de huida en una balsa de inmigrantes sirios en Bodrum. Se trata de uno de los documentos recientes de fotoperiodismo social más difundidos transnacionalmente y con gran impacto en redes sociales. El estudio aborda diferentes niveles de análisis (iconográfico, iconológico y ético) para decapar los aspectos constitutivos de una imagen con poder de cambio social. Como principales conclusiones, esta investigación comprueba el poder de la imagen gráfica digital por su carácter de fácil reedición y resignificación en el paso de transformar simbólicamente la realidad y generar procesos de pronunciamiento y activismo en la ciudadanía a partir de entornos digitales. Los resultados del análisis del caso que se delimita muestran cómo el valor de una imagen en el cambio social no viene dado solo por la magnitud de la tragedia o el hecho que registra, ni por sus aspectos formales (iconográficos), sino por ser capaz de expresar un cambio de lógica (aspecto iconológico) y propiciar procesos de reapropiación y denuncia ciudadana. Por último, el debate ético sobre su difusión traslada el problema de la deontología periodística a la responsabilidad ciudadana.
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Hessels, Roy S., Jeroen S. Benjamins, Andrea J. van Doorn, Jan J. Koenderink, and Ignace T. C. Hooge. "Perception of the Potential for Interaction in Social Scenes." i-Perception 12, no. 5 (September 2021): 204166952110402. http://dx.doi.org/10.1177/20416695211040237.
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In urban environments, humans often encounter other people that may engage one in interaction. How do humans perceive such invitations to interact at a glance? We briefly presented participants with pictures of actors carrying out one of 11 behaviors (e.g., waving or looking at a phone) at four camera-actor distances. Participants were asked to describe what they might do in such a situation, how they decided, and what stood out most in the photograph. In addition, participants rated how likely they deemed interaction to take place. Participants formulated clear responses about how they might act. We show convincingly that what participants would do depended on the depicted behavior, but not the camera-actor distance. The likeliness to interact ratings depended both on the depicted behavior and the camera-actor distance. We conclude that humans perceive the “gist” of photographs and that various aspects of the actor, action, and context depicted in photographs are subjectively available at a glance. Our conclusions are discussed in the context of scene perception, social robotics, and intercultural differences.
Dissertations / Theses on the topic "Social aspects of Photograph albums"
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Savolle, Adrien. "Xiangce, les albums photos prémaritaux chinois : ce que les imaginaires visuels hybrides des fiancés nous disent sur les transformations du mariage en Chine urbaine contemporaine." Master's thesis, Université Laval, 2019. http://hdl.handle.net/20.500.11794/34864.
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Williams, Emily Louise. "An investigation into the effectiveness of social stories with photograph or symbol illustrations for addressing the specific target behaviours of children with a diagnosis of autism spectrum disorder." Thesis, University of Nottingham, 2011. http://eprints.nottingham.ac.uk/13297/.
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This study aimed to investigate the effectiveness of Social Stories utilising either photograph or symbol illustrations to address the target behaviours of children with a diagnosis of Autism Spectrum Disorder (ASD). Multiple single-case experiments were conducted utilising an ABA design with 10 participants, all of whom were boys attending mainstream primary schools within a West Midlands Local Authority. The children ranged in age from 5-11 and all of them had a diagnosis and a primary need in relation to ASD. Personalised Social Stories were composed for each of the participants to address a specific target behaviour that had been identified by the child and members of teaching staff. The stories were written by the researcher alongside a member of staff from the Local Authority's Autism Outreach Service and all adhered to the criteria and guidelines for construction outlined by Carol Gray (2004). The format for each of the stories was identical but for the manipulation of the illustrations. The effectiveness of the intervention was monitored using a variety of measures including a Behaviour Log recording the frequency of the target behaviour across each of the experimental phases; the Strengths & Difficulties Questionnaire (Goodman, 1997); and a Teacher / Teaching Assistant Questionnaire that had been designed by the researcher and was based on items contained within the Behaviour Intervention Rating Scale (BIBS) (Elliot & Treuting, 1991). The data obtained from these measures was analysed through the visual inspection of graphical data and the calculation of effect sizes. Discussion is provided about the suitability, reliability and validity of each of the measures and the methods of data analysis. Overall the study provides evidence of the utility and effectiveness of Social Stories for addressing the target behaviours of children with a diagnosis of ASD. Furthermore it offers an original contribution to the existing literature by exploring the impact of different forms of illustration on story efficacy.
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Kunimoto, Namiko. "Intimate archives : Japanese-Canadian family photography 1939-1949." Thesis, 2001. http://hdl.handle.net/2429/11776.
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Anthony Cohen, in The Symbolic Construction of Community, writes: "the symbolic
expression of community and its boundaries increases in importance as the actual geo-social
boundaries of the community are undermined, blurred or otherwise weakened."
As Japanese-Canadians were uprooted from familiar communities throughout British
Columbia and overwhelmed with the loss of those closest to them, photography was
employed to recentre themselves within a stable, yet somewhat imaginative, network of
relations. Looking became an act of imaginative exchange with the subject - conflating
the act of seeing with the act of knowing. Photographs became "the most cherished
possession" at a time when all else familiar had been lost. It is my contention that
domestic photographs and albums produced at this time worked to construct, preserve
and contain the visual and imaginative narrative of cohesive family stability and
communal belonging, despite divisive political differences, disparate geographical living
situations, and elapsed family traditions. While acknowledging that photographs
construct and embody a multiplicity of meanings, I am interested in the ways Japanese-
Canadian albums were employed during the internment to foster a sense of place while
internees existed in a liminal or transitional, marginal space. These representations
attempt (and of course sometimes fail) to authenticate a seemingly cohesive biography.
Declarations of positive experiences abound throughout the seven family albums I
address in this project. Yet there is a double nature to these affirmations. Inscribing
"happy times" or "joy" alludes to the silent binary of sadness that is effaced from the
images. Representations of state surveillance and poor living conditions are virtually
never included but did nonetheless exist. It is not my intention, however, to suggest that
photographs are entirely deceptive anymore than they are undeniable truths. Rather, I
want to argue that the production, organization and narration of photographs enabled
internees to resist being subsumed by fears of persecution and obliteration. The
intersection of the photographic image with the viewer constructs a narrative of stability,
potentially resulting in a positive experience. Inscribing a positive identity onto images
of one's body plays a role in the production of contentment: it is an act which
simultaneously elides present troubles and safeguards fond memories for the future, it is a
conscious and unconscious maneuver constituting one's personal history. Thus the
images not only reinforce a positive experience, but also participate in creating one. It is
only when anxieties cannot be contained that representation breaks down. "Intimate
Archives" seeks to situate domestic photographs of Japanese-Canadians during the 1942-
1949 exile as intersecting with historical crisis and subjective narrative, tracing the
possibilities of meaning for both the depicted subjects and the possessor of the images.
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Fitzpatrick, Peter Gerard Media Arts College of Fine Arts UNSW. "The Doulgas Summerland collection." 2007. http://handle.unsw.edu.au/1959.4/44257.
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The Douglas Summerland Collection is a fictional "monographically based history"1. In essence this research is concerned with the current debates about history recording, authenticity of the photograph, methods of history construction and how the audience digests new 'knowledge'. The narrative for this body of work is drawn from a small album of maritime photographs discovered in 2004 within the archives of the Port Chalmers Regional Maritime Museum in New Zealand. The album contains vernacular images of life onboard several sailing ships from the nineteenth and twentieth centuries, including the DH Sterling and the William Mitchell. Through investigating the'truth' systems promoted by the photograph within the presentations of histories this research draws a link between the development of colonialism and the perception of photography. It also deliberates on how 'truth' perception is still a major part of an audience's knowledge base. 1. Anne-Marie Willis Picturing Australia: A History of Photography, Angus & Robertson Publishers, London. 1988:253
Books on the topic "Social aspects of Photograph albums"
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Finding the Civil War in your family album. [United States]: Picture Perfect Press, 2011.
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Starl, Timm. Knipser: Die Bildgeschichte der privaten Fotografie in Deutschland und Österreich von 1880 bis 1980. München: Koehler & Amelang, 1995.
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Langford, Martha. Suspended conversations: The afterlife of memory in photographic albums. Montreal: McGill-Queen's University Press, 2001.
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Galleries of friendship and fame: A history of nineteenth-century American photograph albums. New Haven [Conn.]: Yale University Press, 2010.
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Photography, Southeast Museum of. Voyages {per}Formed: Photography and travel in the Gilded Age. [Daytona Beach, Fl.]: Daytona Beach Community College, 2000.
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Vodoz, Jean Marie. Im milden Licht der Kirschblüten: Das Japan meines Vaters : Fotos 1924-1928. Zürich: Limmat, 2004.
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(autograph), Monk Lorraine, ed. Photographs that changed the world: The camera as witness, the photograph as evidence. Toronto: Macfarlane Walter & Ross, 1989.
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Chalfen, Richard. Turning leaves: The photograph collections of two Japanese American families. Albuquerque: University of New Mexico Press, 1991.
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Hardin, James N. Folklife annual 90: A publication of the American Folklife Center at the Library of Congress. Washington, D.C: The Library, 1991.
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Edward, Wakeling, and Carroll Lewis 1832-1898, eds. Lewis Carroll, photographer: The Princeton University Library albums. Princeton, N.J: Princeton University Press, 2002.
Find full textBook chapters on the topic "Social aspects of Photograph albums"
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Hanna, Erika. "Beaches and Sunlight." In Snapshot Stories, 16–57. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198823032.003.0002.
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Chapter 1 explores the practices and semiotics of photograph albums. Across the twentieth century, making photograph albums moved from an elite to a popular form, and was especially popular among single young people. Familial and personal histories were curated through selecting photographs, arranging them on the page, and fixing their meaning through captioning. In order to unpack these themes in detail, the chapter focuses on photograph albums depicting three ‘ordinary’ Irish lives. These photograph collections can provide us with a host of information about Ireland in the early years of the twentieth century: about how people used a visual language to narrate their lives; received, assimilated, or resisted social and political discourses; and revealed or concealed family secrets. Each of the subjects made particular choices about the stories they told in their albums, drawing on photographic modes drawn from Kodak convention and the visual rhetoric of Ireland.
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Hanna, Erika. "Conclusion." In Snapshot Stories, 234–44. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198823032.003.0008.
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Snapshot Stories concludes as the twentieth century ends, and paper photographs and analogue cameras are replaced by digital images and new technologies. However, the final chapter provides an examination of how some of the themes explored throughout the earlier chapters have adapted since the close of the century. Indeed, it is arguable that the themes addressed throughout this book have only become of greater relevance in the twenty-first century, as the visual has increasingly played a more pressing role in everyday life and political culture. Photograph albums have now been deposed by photographs on social media as a forum for displaying and curating identity. The photographers who stood with their cheap cameras on top of Derry tower blocks in 1969 today seem to be the ancestors of activists who record police violence on smartphones. However, just as the shift to the digital is producing an image saturated culture which seems to offer new modes of political participation and personal self-fashioning, it also poses fundamental questions for the historian. Online databases of images open up newly accessible source bases, but they also require new methods to work in them, while the certainties of cutting, pasting, and annotating of photograph albums and framed photographs have now disappeared in the new image-culture of the twenty-first century. The final pages of the book bring all these themes together by briefly examining photo culture in modern Ireland, scrutinizing how archival practices are changing, historical questions are being reshaped, and looking ahead to the challenges and potentials for the future of work on photography.
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Williams, Shirley, Sarah Fleming, Karsten Lundqvist, and Pat Parslow. "This Is Me." In Digital Identity and Social Media, 104–17. IGI Global, 2013. http://dx.doi.org/10.4018/978-1-4666-1915-9.ch008.
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The chapter reports on the ‘This Is Me’ project, which aimed to help students and the wider public to be aware of the impact that online material has on their identity and reputation. The chapter explores practical aspects of Digital Identity, relating to issues such as employability, relationships, and even death. For example, understanding the impact a photograph posted on a social networking website might have for different groups of people, ranging from friends or parents to future employers. As part of the ‘This is Me’ project, stories were collected from students and others about Digital Identity matters, a grounded methodological approach based on action research was used to establish issues related to Digital Identity particularly relevant to those in academia. Drawing from these issues, resources were developed to help inform and educate people about how they can understand and control their own Digital Identity. A number of these resources are presented here, along with reflections on how they are used and can be adapted.