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Relevant bibliographies by topics / Social-documentary photography

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Academic literature on the topic 'Social-documentary photography'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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Journal articles on the topic "Social-documentary photography"

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Young, Stephanie L. "Social Documentary Photography: An Appreciation." Review of Communication 8, no. 3 (July 2008): 254–56. http://dx.doi.org/10.1080/15358590701851657.

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Zakharova, Oleksandra. ""PHOTOTELLING" AS THE INNOVATION OF PHOTOJOURNAL "6 MOIS" BY CONNECTING PRESS AND BOOK MARKETS." Bulletin of Taras Shevchenko National University of Kyiv. Sociology 8 (2017): 29–33. http://dx.doi.org/10.17721/2413-7979/8.5.

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he author analyses the French journal «6 MOIS», which was created in Paris in 2011, from the point of view of visual sociology. The notions of documentary photography (350 pages of journalistic photography) that represent social life in the 21st century are investigated. The goal of this article is to demonstrate that the journal is a unique and significant source for social science. The research connects the views of the editorial team with photographers from around the world by analysing and comparing interviews conducted in collaboration with the editorial team and photographers from China, The Netherlands, France, Russia. The interviews reveal the main criteria relevant in selecting documentary photographic material: the “concept-story”; their journalistic nature; visual quality; and the actuality of the topic. By analysing journal publications this author has discovered the way social problems in documentary photography are demonstrated: using age; gender; emotions of heroes; the location of story; and the main social issues. To answer the question of how the popular documentary journal «6 MOIS» constructs the image of the contemporary, the content analysis of photographs and the journal’s interviews and are presented and discussed.

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STREET, RICHARD STEVEN. "Lange's Antecedents: The Emergence of Social Documentary Photography of California's Farmworkers." Pacific Historical Review 75, no. 3 (August 1, 2006): 385–428. http://dx.doi.org/10.1525/phr.2006.75.3.385.

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Photographers focusing on California farmworkers are often described as heirs to a tradition that emerged midway through the Great Depression, mainly from the heroic efforts of one iconic photographer, Dorothea Lange. By calling attention to a diverse group of underappreciated antecedents who have never been linked together, this article presents a more sequential, less tidy account of how social documentary photography focused on farmworkers in the Golden State in the years before Lange moved out of her studio into the countryside. Without ever referring to their work as social documentary photography, these photographers, largely on their own and with little knowledge of one another, broke with standard commercial practices, turned a probing eye on the fields, recorded history as it unfolded, and created a visually stunning, realistic,often uncomfortable body of work.

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Sarsby, Jacqueline. "Exmoor Village Revisited: Mass-Observation's ‘Anthropology of Ourselves’, the ‘Feel Good Factor’ in Wartime Colour Photography and the Photograph as Art or Social Document." Rural History 9, no. 1 (April 1998): 99–115. http://dx.doi.org/10.1017/s0956793300001461.

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In 1988, HTV made a series of programmes about a Somerset village called Luccombe. Their starting point was the Mass-Observation survey carried out over forty years before and described in Exmoor Village. No mention was made of the larger project - the ‘wholesome’ British export, for which the survey and perhaps even more importantly, the photographs, were commissioned. The difficulties of producing and reproducing fine-quality colour photographs at that time, however, suggest that the social investigators and the photographer were pursuing widely differing goals. The different approaches of social documentary photography and pictorial photography may not be obvious in a beautiful print, embedded in an anthropological text, but the use of photographs, which were essentially reconstructions of idealised village life disguised as documents, indicates how much importance the Ministry of Information attached to exporting the image of the wholesome, ‘traditional', English rural community.

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Hubbard, Janie. "Dorothea Lange." Social Studies Research and Practice 14, no. 3 (November 18, 2019): 281–89. http://dx.doi.org/10.1108/ssrp-01-2019-0004.

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Purpose Dorothea Lange was one of the first US documentary photographers, and she was empowered by the belief that seeing the effects of injustice, in photographs, could elicit social and political reform. She famously documented the plight of Dust Bowl migrants during the US. Great Depression and harsh difficulties endured by incarcerated Japanese Americans during the Second World War. Lange’s photographs brought suppressed issues of class and race to the surface, depicting those impacted by national tragedies into recognizable, honorable, determined individuals. By showing Americans how suffering and injustice look in real life, she stimulated empathy and compassion. This inquiry is not particularly about the Great Depression or Japanese Internment, though disciplinary concept lessons would certainly support students’ prior knowledge. This lesson focuses students’ attention on broader ideas regarding social justice and how social and political documentary photography transform people’s views about distressing problems, even today. Supporting questions are: How can deep analysis of photographs affect our thoughts and emotions about social issues? What is empathy? How can social documentary photography affect people’s emotions? Supporting questions guide students to answer the greater compelling question, How can visuals, such as photographs, impact social change? The paper aims to discuss these issues. Design/methodology/approach This is an inquiry lesson plan based on a National Council for the Social Studies Notable Trade book for Young People award winner, Dorothea’s Eyes, written by Barb Rosenstock. Findings The paper is a lesson plan, which incorporates students’ analyses of primary sources and other research methods to engage the learner in understanding how Dorothea Lange helped change perspectives regarding the need for social and political reform. Though the story is historic, similar social justice topics still persist, worldwide, today. Originality/value Through inquiry and research, students begin to learn how social and political documentary photography began in the USA, and students create their own social documentaries. Though the US Great Depression and Japanese Internment are highly relevant within this lesson, the overall, greater message is about class, race, suffering and how to inspire empathy.

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CURRELL, SUE. "You Haven't Seen Their Faces: Eugenic National Housekeeping and Documentary Photography in 1930s America." Journal of American Studies 51, no. 2 (May 2017): 481–511. http://dx.doi.org/10.1017/s0021875817000366.

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This essay explores the relationship between welfare, eugenics and documentary photography during the New Deal in order to explain how a set of government photographs taken by Arthur Rothstein in the Shenandoah became entwined in the rhetorical structure of eugenic ideology. The photographs discussed portray victims of forced sterilization before their incarceration, yet there is no evidence to show that the photographer was aware of, or complicit with, this fact. This essay responds to the questions this raises about the images: what historical and social contingencies were behind their production? What is the relationship between the photographer, the photographs, the New Deal and the subjects depicted? How did efforts to help America's poorest lead to their incarceration and sterilization? Why is the full picture impossible to see? And how do we read and understand them today?

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Setayesh, Saeedeh Rahman, and Mahgan Farhang Khaghanpour. "Sociology of Social Documentary Photography in Forming Social Movements and its Effect on Iran Islamic Revolution." Journal of Arts and Humanities 6, no. 4 (March 27, 2017): 10. http://dx.doi.org/10.18533/journal.v6i4.1114.

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<p>Photography is taken as one of the modern disciplines of the art world. Social documentary photography, with its realistic, impartial and truthful nature, is aimed at keeping a record of social events. It is a document of an event happened in front of the camera which may symbolize history and identity of a society. As a science, sociology has emerged concurrently. Sociology of art is aimed at introducing the art or style of a given era which has been created by a given society. Reflection and formation are two significant approaches of sociology of art. It is aimed to highlight the effect of sociology of photography in forming social movements especially Iran Islamic revolution.</p>

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KUBIE, OENONE. "Reading Lewis Hine's Photography of Child Street Labour, 1906–1918." Journal of American Studies 50, no. 4 (April 29, 2016): 873–97. http://dx.doi.org/10.1017/s002187581600058x.

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Lewis Hine's child-labour photographs are among the best-known social-documentary photographs ever taken, yet historians have neglected his photography of children working on the streets of America's cities. This paper explores the disputed symbolism of Hine's street-labour photographs. Far from simply depicting another appalling form of child labour, Hine's child street labourers, and the newsboys he photographed in particular, represented a range of ideas from masculinity and entrepreneurial spirit to the dangers of the new urban life and the apparent ignorance of immigrant parents. The symbolic newsboy was often far removed from the reality of child street labour, but he became an important figure in discourse surrounding the nature of childhood and the organization of public space in the United States of the early twentieth century. In exploring these subjects, this article takes on a neglected part of American history, yet an important one. Studying child street labourers reveals much about children, their choices, and the urban environment in the United States during the Progressive Era.

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Alves de Oliveira, Andreia, and Steve Edwards. "We Need More Documentary, and We Need More than Documentary: Interview with Art Historian Steve Edwards." Cabinet, Vol. 2, no. 2 (2017): 32–39. http://dx.doi.org/10.47659/m3.032.int.

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Steve Edwards teaches history and theory of photography and is a fiery, self-described “radical from a working-class background”, “post-Trotskyist” and “socialist feminist”, who reads “Marx and more Marx”. We met in 2016 in Lisbon at an academic conference on Photography and the Left, where he was one of the keynote speakers. Edwards’ paper tracked the changes in relation to the Left and the documentary movement in Britain from the 1970s to the present day, his argument consisting in that documentary and social class are closely entwined. This interview, done at Birkbeck, University of London, which he joined as a Professor at the beginning of this academic year, revisits the main themes of what was, in many ways, an enlightening and inspiring talk. Using the two terms – Photography and the Left – to frame and anchor the discussion, our exchange covers Edwards’ political education, the 1970s emergence of a key period in visual theory and subsequent mutations in political visual practice, up to its present status in a neoliberal society and the forms and intellectual basis of contemporary resistance to it. Although the exchange is centred on the British context, it is done so, however, with total awareness of it being an instance among others of documentary photography’s many global manifestations. It is with these manifestations that this interview aims to enter into dialogue, through its publication in a magazine with a global audience such as Membrana’s.

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Sichel, Kim, and Maren Stange. "Symbols of Ideal Life: Social Documentary Photography in America, 1890-1950." Journal of American History 77, no. 2 (September 1990): 689. http://dx.doi.org/10.2307/2079269.

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Dissertations / Theses on the topic "Social-documentary photography"

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Stumberger, Rudolf. "Klassen-Bilder : sozialdokumentarische Fotografie 1900 - 1945 /." Konstanz : UVK-Verl.-Ges, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2961071&prov=M&dok_var=1&dok_ext=htm.

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Turok, Karina. "Social skin : initiation through the bodily transformation of four South African women : an exploration using documentary photography." Master's thesis, University of Cape Town, 2002. http://hdl.handle.net/11427/17244.

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Bibliography: p. 92-93.
My work questions social and cultural constructs of 'normality' and, by focusing on the practices of marginalised communities, questions dominant cultural conventions of female identity, beauty and sexuality. Within visual media, if the private or unsaid of female experience is said, it is seen as subversive. By focusing on four female initiations, my intention is to develop a specific yet complex comparison of different types of initiations. Embedded within the communities I have photographed are unique perceptions of beauty, each of which differs from mainstream notions. My intention is not to exoticise any particular community, but to explore some sub-cultures of female youth in South Africa, and to unfold how these women position themselves in post-Apartheid South Africa. An important component of the work is the relationship of the subject to the documentary process. I hope both to raise questions and also provide some answers concerning how the means of signification functions for the subjects. As the photographer of their transformation process, I am positioned as an outsider in their lives. As a means of acknowledging this, I include a series of photographs taken or directed by the women themselves, alongside my own. In doing so, my intention is to create a visual dialogue with the subjects, effectively offering them the opportunity to reply to my images with their own. This is not meant as a patronising gesture of political correctness, but as a means of attaining a more complete narrative while at the same time exploring complexities inherent in the play between 'inside' and 'outside' perspectives. My editing of their self-portraits positions me as a curator in this facet of the project.

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Speake, Terry. "What is wrong with disability imagery? : towards a new praxis of social documentary photography." Thesis, University of Bolton, 2012. http://ubir.bolton.ac.uk/609/.

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This critical appraisal presents the processes and outcomes of a coherent research programme carried out between June 2008 and June 2011 that interrogates the representation of disabled people through in-depth, practice-led case study and analysis, leading to the formulation of a praxis framework for presenting collaborative social documentary photography practices associated with disability. Through the systematic production of bodies of commissioned and personal projects, both successful and unsuccessful, an epistemology of practice is presented that constitutes an independent and original contribution to knowledge. This practice-led research investigates claims that photographic images of disabled people often fail to represent individuals as empowered members of society because of societal references to stereotyped constructions of 'otherness' defined by negative signs of their disability. In order to question this, polemics from disability rights commentators who have referred to, but failed to engage fully with discourses surrounding photographic ontologies and professional practices, thereby constructing a binary line between disabled subjects and their image-makers, are challenged. The implication in their arguments is that photographers have been participating, knowingly or unknowingly, in disablist practices, contributing to the 'othering' of disabled people. By taking an interdisciplinary approach, co-locating photography and disability studies' theoretical frames within the trope of collaborative social documentary practice, orthodoxies surrounding representational outcomes are challenged by investing disabled people with the responsibility for the construction of their own images. Therefore, it contributes to the body of photographic theory concerning representations of the 'other' demonstrating that collaboration is a complex landscape of asymmetrical power structures on many levels -client, photographer, subject, audience - that are difficult to stabilise. By demonstrating synergy between academic theory and professional practice through publication, exhibition and critical discourse, this investigation informs and gives voice to disabled people themselves. Moreover, it adds to, and stimulates scholarly debate on a high-profile public matter by informing policy-makers, health professionals, commissioners and photographers on a controversial area of representation.

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Mitropoulos, Maria Michael. "Regimes of truth : documentary photography in the margins." Queensland University of Technology, 2003. http://eprints.qut.edu.au/16077/.

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This thesis consists of two parts. The first is a series of photographic essays documenting the lived experience of a woman who is HIV positive and a group of young females who are socially marginalised. The written component attempts to underlabour in a philosophical sense for the artistic/creative element of the thesis. That is, it seeks to take on a range of theoretical issues that cluster around the practice of documentary photography. By clarifying these issues the thesis endeavours to act as a stimulus to artistic practice and also to explain and introduce that practice to a wider audience. Among the theoretical issues addressed is the ontological status of the documentary photograph. Here, the thesis draws upon Roy Bhaskar's Critical Realism to suggest a rational alternative to postmodernist scepticism and naive realism. The thesis also takes on a range of ethical problems. Most important of these is the question whether the relationship between the photographer and her subject is inherently exploitative. The thesis attempts, in this case, to unite Emmauel Levinas' philosophy of the Other with Critical Realist Ethics. Here, the thesis advances a novel differentiation of the Other and combines this with the Critical Realist notion of ontological depth. The argument of the thesis is that the nature of the contract between the photographer and her subject depends on which Other the subject is regarded as. In addition, the thesis explores the social and gender dimensions of documentary photography concentrating in particular on the Farm Security Admininstration photography in America in the 1930s, and the radical self-imaging of the British photographer Jo Spence and the Pop Star Madonna.

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Le, Tallec Anne. "Le nouveau Documentaire Social : critique et renouveau du documentaire photographique américain sur la côte Ouest des Etats-Unis entre 1970 et 1980." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010542.

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Un groupe d'étudiants rassemblés par des idéaux artistiques se forme à l'Université de Californie San Diego dans la décennie 1970. Fred Lonidier, Martha Rosier, Allan Sekula et Phel Steinmetz, résolument tournés vers la photographie, élaborent une pensée collective sans toutefois former un groupe officiel. Pourtant, le partage d'une émulation propre à la côte Ouest du pays et à l'université où la pensée de figures tutélaires comme D. Antin, H. Marcuse, J. Baldessari, B. Brecht, H. Lefebvre ou H. Haacke stimule collectivement les esprits, confère aux méthodes et démarches des photographes une résonnance de groupe. En plus, Documentary and Corporate Violence, texte rédigé par A Sekula en 1976, utilise le terme de petit groupe pour qualifier les photographes. Ce texte auquel nous attribuons le statut de manifeste, critique la lecture moderniste des photographes documentaires américains traditionnels. Il expose également les attitudes mises au point par le groupe que nous identifions sous le nom de Nouveau Documentaire Social. Parmi celles-ci se distingue une pratique photographique documentaire ouverte à d'autres médium, une forte présence textuelle, des scénographies et circuits d'exposition repensés, des audiences élargies, un intérêt pour des thématiques ancrées dans l'actualité militante, ou encore un regard vers le quotidien et le banal comme témoins des bouleversements des schémas sociétaux. Objet à déconstruire, la photographie moderniste et les institutions qui la célèbrent représentent une tradition documentaire à renouveler. Ce contexte de remise en question collective et les propositions documentaires qui en sont issues constituent l'objet de cette étude
A group of students gathered around shared artistic ideals comes to life at University of California San Diego in the nineteen-seventies. Fred Lonidier, Martha Rosier, Allan Sekula and Phel Steinmetz, ail firmly focused on photography, elaborate a collective thought albeit never actually founding an official group. However, a shared emulation endemic to the West Coast and to the university where ideas birthed by leading thinkers such as D. Antin, H. Marcuse, J. Baldessari, B, Brecht, H Lefebvre or H. Haacke collectively stimulates the minds of those around, adds a certain group resonance to the photographers' methods and processes. Furthermore, Documentary and Corporate Violence, a text written by A Sekula in 1976, uses the term small group to refer to the photographers involved This text - to which we give the status of manifesto - criticizes the modernist reading of traditional american documentary photographers. It also exposes the attitudes developed by this group which we coin as New Social Documentary. We will distinguish one of these attitudes from the others : a documentary photographic practice which opens itself to other media, displays a strong textual presence, newly-thought scenography and exhibition paths, widened audiences, an interest in themes strongly anchored in contemporary activism, and which transforms what was so far considered as banal and mundane into testimonies of profound changes in societal structure. Modernist photography, an object to deconstruct, as well as the institutions that celebrate it represent a documentary tradition which needs to be renewed. The new documentary propositions along with the context of collective questioning from which they derive constitute the object of this study

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Stacchio, Lorenzo. "Detecting social patterns within 20th century documentary photos: a deep learning based approach." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2020. http://amslaurea.unibo.it/21552/.

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The job of a historian is to understand what happened in the past, resorting in many cases to written documents as a firsthand source of information. Text, however, does not amount to the only source of knowledge. Pictorial representations, in fact, have also accompanied the main events of the historical timeline. In particular, the opportunity of visually representing circumstances has bloomed since the invention of photography, with the possibility of capturing in real-time the occurrence of a specific events. Thanks to the widespread use of digital technologies (e.g. smartphones and digital cameras), networking capabilities and consequent availability of multimedia content, the academic and industrial research communities have developed artificial intelligence (AI) paradigms with the aim of inferring, transferring and creating new layers of information from images, videos, etc. Now, while AI communities are devoting much of their attention to analyze digital images, from an historical research standpoint more interesting results may be obtained analyzing analog images representing the pre-digital era. Within the aforementioned scenario, the aim of this work is to analyze a collection of analog documentary photographs, building upon state-of-the-art deep learning techniques. In particular, the analysis carried out in this thesis aims at producing two following results: (a) produce the date of an image, and, (b) recognizing its background socio-cultural context,as defined by a group of historical-sociological researchers. Given these premises, the contribution of this work amounts to: (i) the introduction of an historical dataset including images of “Family Album” among all the twentieth century, (ii) the introduction of a new classification task regarding the identification of the socio-cultural context of an image, (iii) the exploitation of different deep learning architectures to perform the image dating and the image socio-cultural context classification.

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Nesbitt, Hills Christine. "Documentary Photography as a Tool of Social Change: reading a shifting paradigm in the representation of HIV/AIDS in Gideon Mendel's photography." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21561.

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Gideon Mendel’s ongoing photographic work documenting HIV/ AIDS, first started in 1993, has seen shifts not only in production but also in the author’s representation of his subjects. This paper looks at three texts of Mendel’s work, taken from three different stages of Mendel’s career and reads the shifting paradigm taking Mendel from photojournalist to activist armed with documentary photography as a tool of social change. This thesis explores how different positionings as an author and different representations of the subjects, living and dying, with HIV/AIDS influences meaning-making, and what that means for documentary photography as a tool of social change.

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Orr, Casey. "Comings, goings & everything in between : social post-documentary photography in relation to American/UK communities and landscapes." Thesis, Leeds Beckett University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.538322.

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Godeau, Vincent. "La photographie africaine contemporaine : vers une photographie panafricaine." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040097.

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La photographie africaine contemporaine est ici celle que pratique les Africains vivant en Afrique. Durant notre période (1989-2009), le constat de l’absence de spécificité de la photographie africaine fait place au constat du regard photographique erroné que porte les Occidentaux sur l’Afrique. « Quelle est la vraie photographie africaine ? » est une des questions les plus souvent posées. En parallèle, le genre du portrait s’impose, en lutte contre un afropessimisme ambiant, tandis que les photographies documentaire et du réel montrent l’Afrique vécue par les Africains. Plus militante, la photographie citoyenne se développe et s’accompagne d’une hégémonie discursive. Mais la vraie photographie engagée est donnée par des pays anglophones qui contribuent à la marche collective vers la reconnaissance. Dans ce processus de reconnaissance, la France et les Etats-Unis jouent un rôle essentiel. L’intérêt porté par ces deux pays du Nord à la photographie africaine s’explique par l’existence d’une diaspora de photographes africains dont les travaux alimentent nombre de manifestations, palliant ainsi un déficit relatif en photographes locaux pratiquant une « photo d’art ». Dans ce contexte fragile, la pépinière de photographes sud-africains évoluant dans une économie de marché à l’occidentale prend à contre-pied les pays d’Afrique francophone où les fonctionnaires français répartissent des aides d’origine étatique et européenne. Cette Afrique du Sud, avec d’autres pays anglophones et le Mozambique, est le véritable porte-étendard d’une photographie africaine en gestation
Contemporary African photography is here photography practiced by Africans living in Africa. In our period (1989-2009), the acknowledgement of the absence of specificity of African photography takes the place of the photographic gaze brought by Westerners to Africa: “What is the real african photography?” is a question that characterizes this photography. In parallel, the portrait genre imposes itself, searching to end up outside of the consciences of an ambient afropsessimism, while documentary photographs show the Africa lived by Africans. Even more militant, citizen photography develops and is accompanied by a discursive hegemony. But the true photography engaged has been given by some of the Anglophone countries that therefore contribute to the collective march to recognition, France and the United States playing an essential role, since 1990, in this process. The interest in those two northern countries may also be explained by a diaspora of African photographers whose work feeds a number of manifestations that highlight a relative deficit of local photographers that practice “art photography”. In this fragile context, the nursery of South African photographers evolving in an economic market similar to that of the occident takes a counter-point to French speaking countries where French civil servants distribute state assistance of European origin. It is this South Africa, alongside other English speaking countries and Mozambique, that demonstrates the path of a clearly gestating African photography

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Brown, Roger Grahame. "The active presence of absent things : a study in social documentary photography and the philosophical hermeneutics of Paul Ricoeur (1913-2005)." Thesis, Staffordshire University, 2014. http://eprints.staffs.ac.uk/2279/.

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“Phenomenology is the place where hermeneutics originates, phenomenology is also the place it has left behind.”(Ricoeur ). In this thesis I shall examine possibilities for bringing into dialogue the practice of social documentary photography and the conceptual resources of the post-Structural and critical philosophical hermeneutics of text and action developed by Paul Ricoeur (1913-2005) from the 1970’s onwards. Ricoeur called this an ‘amplifying’ hermeneutics of language, defined as ‘the art of deciphering indirect meaning’ (ibid). Social documentary photography is an intentional activity concerned with the visual interpretation, ethics and representation of life, the otherness of others, and through them something about ourselves. The narratives form social histories of encounters with others. They raise challenging questions of meaning and interpretation in understanding the relations of their subjective agency to an objective reality. Traditionally the meaning of such work is propositional. It consists in the truth conditions of bearing witness to the direct experience of the world and the verifiability of what the photography says, or appears to say about it. To understand the meaning of the photography is to know what would make it true or false. This theory has proven useful and durable, although it has not gone unchallenged. The power it has is remarkable and new documentary narratives continue to be formed in this perspective, adapting to changing technologies, and reverberate with us today. A more subtle way of thinking about this is given by a pragmatic theory of meaning. This is what I am proposing. The focus here is upon use and what documentary photography does and says. A praxis that I refer to by the act of photographing: a discourse of locutionary, illocutionary and perlocutionary utterances in whose thoughtful and informed making are unified theories of visual texts within the theories of action and history. The key is the capacity to produce visual narratives made with intention and purpose that in their performative poetics and their semantic innovations attest to the realities of 1 Ricoeur, P. 1991: From Text to Action: Essays in Hermeneutics II. trans. Kathleen Blamey and John B. Thompson. 2nd Edition 2007: with new Forward by Richard Kearney. Evanston. NorthWestern University Press. experience and sedimented historical conditions witnessed, and communicate those to others within a dialectic of historical consciousness and understanding. The narrative visualisations disclose a world, a context in which the drama of our own life and the lives of others makes sense. In their interpretations of an empiric reality can be found ethical concerns and extensions of meaning beyond the original reference that survive the absence of the original subject matter and the original author of the photography whose inferences our imaginations and later acquired knowledge can meditate upon and re-interpret. Thus in the hermeneutic view, the documentary photographic narrative is a form of text that comes to occupy an autonomy from, a) the author’s original intentions, b) the reference of the original photographic context, and c) their reception, assimilation and understanding by unknown readers-viewers. Ricoeur argues that hermeneutic interpretation discloses the reader as ‘a second order reference standing in front of the text’, whose necessary presence solicits a series of multiple and often conflicting readings and interpretations. Consequently Ricoeur’s critical, philosophical hermeneutics brings us from epistemology to a kind of ‘truncated’ ontology that is only provisional, a place where interpretation is always something begun but never completed. Interpretation according to Ricoeur engages us within a hermeneutic circle of explanation and understanding whose dialectic is mediated in history and time. For Ricoeur this implies that to be able to interpret meaning and make sense of the world beyond us is to arrive in a conversation that has already begun. His hermeneutic wager is, moreover, that our self-understandings will be enriched by the encounter. In short, the more we understand others and what is meaningful for them the better we will be able to understand ourselves and our sense of inner meaning. The central thesis of his hermeneutics is that interpretation is an ongoing process that is never completed, belonging to meaning in and through distance, that can make actively present to the imagination what is objectively absent and whose discourse is undertood as the act of “someone saying something about something to someone” (Ricoeur 1995: Intellectual Autobiography).

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Books on the topic "Social-documentary photography"

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Catledge, Oraien E. Cabbagetown. Austin: University of Texas Press, 1985.

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Stange, Maren. Symbols of ideal life: Social documentary photography in America, 1890-1950. Cambridge [England]: Cambridge University Press, 1989.

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Stange, Maren. Symbols of ideal life: Social documentary photography in America, 1890-1950. New York: Cambridge University Press, 1989.

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Photography as activism: Images for social change. Wlatham: Focal Press, 2011.

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Errázuriz, Paz. Paz Errazuriz: Photography = fotografia. Santiago: Paz Errázuriz Körner, 2004.

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Klassen-Bilder: Sozialdokumentarische Fotografie 1900-1945. Konstanz: UVK Verlagsgesellschaft, 2007.

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American photography and the American dream. Chapel Hill: University of North Carolina Press, 1991.

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Der subjektive Blick in den Fotografien der "Boston School": David Armstrong, Philip-Lorca diCorcia, Nan Goldin, Mark Morrisroe, Jack Pierson, Shellburne Thurber. Marburg: Tectum Verlag, 2008.

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The power of photography: How photographs changed our lives. New York: Abbeville Press, 1991.

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British photography from the Thatcher years. New York: Museum of Modern Art, 1990.

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Book chapters on the topic "Social-documentary photography"

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Balaschak, Chris. "The New Social Document." In The Image of Environmental Harm in American Social Documentary Photography, 77–100. New York: Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003016588-4.

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Balaschak, Chris. "Photographic Views After Three Mile Island." In The Image of Environmental Harm in American Social Documentary Photography, 101–23. New York: Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003016588-5.

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Balaschak, Chris. "America Begins Again." In The Image of Environmental Harm in American Social Documentary Photography, 1–33. New York: Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003016588-1.

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Balaschak, Chris. "The Climax Community." In The Image of Environmental Harm in American Social Documentary Photography, 34–57. New York: Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003016588-2.

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Balaschak, Chris. "The Shadow of Infrastructure." In The Image of Environmental Harm in American Social Documentary Photography, 58–76. New York: Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003016588-3.

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Balaschak, Chris. "Tracing Toxicity." In The Image of Environmental Harm in American Social Documentary Photography, 124–43. New York: Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003016588-6.

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Balaschak, Chris. "Sacrifice Zones." In The Image of Environmental Harm in American Social Documentary Photography, 144–51. New York: Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003016588-7.

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Entin, Joseph B. "Working Photography." In Remaking Reality, 151–71. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469638690.003.0008.

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In “Working Documentary: Labor Photography and Documentary Labor in the Neoliberal Age,” Joseph B. Entin analyzes the work of Milton Rogovin and Allan Sekula. The chapter emphasizes the self-consciousness with which these acclaimed photographers of labor generated new formal strategies to contend with the limitations of conventional documentary realism. Each, he shows, produced forms of labor photography attuned to the conditions of contemporary work and responsive to the widening social and economic forces shaping workers’ experience—and each thereby reanimated, or reworked, the project of photo-documentary for a late industrial, emerging neoliberal context.

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K’Meyer, Tracy E. "Photography and Oral History:." In The Social Documentary Photography of Milton Rogovin, 81–88. The University Press of Kentucky, 2019. http://dx.doi.org/10.2307/j.ctvh1dxjk.10.

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Fulton, Christopher. "Photography with a Conscience." In The Social Documentary Photography of Milton Rogovin, 15–54. The University Press of Kentucky, 2019. http://dx.doi.org/10.2307/j.ctvh1dxjk.5.

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Conference papers on the topic "Social-documentary photography"

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Fan, Liu, and Zhang Yansong. "Research on the “Instantaneity” of Documentary Photography from the Perspective of Reception Aesthetics." In 2021 International Conference on Modern Educational Technology and Social Sciences (ICMETSS 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210824.032.

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Uğur, Latif Onur, and Kadir Penbe. "A Social Media Supported Distance Education Application for the Building Cost Course Given in Civil Engineering Education During the COVID 19 Quarantine." In 4th International Conference of Contemporary Affairs in Architecture and Urbanism – Full book proceedings of ICCAUA2020, 20-21 May 2021. Alanya Hamdullah Emin Paşa University, 2021. http://dx.doi.org/10.38027/iccaua2021tr0030n9.

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A distance education application in Düzce University within the Fall Semester, which started in September 2020, constitutes the main subject of this study. 118 students chose the Construction Cost course, which is one of the fourth year elective courses in Civil Engineering, this term. In addition to the lectures given within the Düzce University Distance Education Center (UZEM), different applications have been made / made through a social media (Whatsapp) group in which all students participated. With the help of additional videos, audio and written messages, an application was made based on increasing the communication opportunities with the participant students, teachers and other students, and developing a civil engineering culture. By increasing motivation with research assignments including construction industry practices and problems, monitoring documentary construction projects, interesting photographs and videos; The aim is to follow a lesson close to formal education for students who are encouraged to learn by experiencing the lesson, to make participatory practices, and to discuss their findings. In the meantime, the importance of first degree health protection was emphasized with information sharing and recommendations on the importance of compliance with COVID 19 measures. It was preferred that the course grades be made on the given homework to reinforce the importance of Self-Learning / Study practices. At the end of the term, it was determined that besides a high success rate, the satisfaction of all students was achieved, and it was concluded that the main objectives were achieved.

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