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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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Moeller, Susan, and Maren Stange. "Symbols of Ideal Life: Social Documentary Photography in America, 1890- 1950." American Historical Review 95, no. 4 (October 1990): 1274. http://dx.doi.org/10.2307/2163662.
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Suchar, Charles S., and Maren Stange. "Symbols of Ideal Life: Social Documentary Photography in America 1890-1950." Contemporary Sociology 19, no. 2 (March 1990): 276. http://dx.doi.org/10.2307/2072619.
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Opp, James. "Re-imaging the Moral Order of Urban Space: Religion and Photography in Winnipeg, 1900-1914." Journal of the Canadian Historical Association 13, no. 1 (February 9, 2006): 73–93. http://dx.doi.org/10.7202/031154ar.
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Abstract The arrival of the Reverend J.S. Woodsworth as the Superintendent of Winnipeg's All Peoples' Mission in 1907 coincided with a strategic shift in the visual representation of urban space in many Canadian Methodist publications. Traditional photographs of churches and ministers were soon accompanied by images of crowded tenements, impoverished conditions, and unsupervised children on the street. This paper examines the introduction of a social documentary style of photography and analyses how these images functioned within the context of the emerging social gospel and widespread middle-class anxieties over the “problem” of the city. This visual technology appealed to the new social reform emphasis on “surveying” conditions, but photography's inherent claim to represent an objective reality was overlaid with gendered moral boundaries, particularly in the space that surrounded the bodies of children. The re-imaging of urban space was part of a broader narrative that positioned the religious response to the city as both a moral and an environmental problem.
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Ferreira, Carlos Miguel, and Sandro Serpa. "Photography in Social Science Research." Journal of Educational and Social Research 10, no. 4 (July 10, 2020): 62. http://dx.doi.org/10.36941/jesr-2020-0065.
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Visual communication is critical in contemporary societies. Research in social sciences increasingly tends to mobilize the image, for example, in the form of photography, in its processes (in the collection and interpretation of information) and products (in the communication of research results), which leads to the need to reflect critically on its specificities. This paper aims to add to the analysis of the potentialities, limitations and challenges of the use of photography in social sciences research. For this purpose, the paper presents and discusses empirically collected documentary expressions, selected from an organizational case study based on their heuristic capacity to illustrate the argumentation put forth herein. It is concluded that the potential of the use of photography in research in social sciences is high, but it is essential that the researcher considers, besides more technical aspects and ethical complexities, that photography is, in part, also the materialization of a certain socially constructed representation of reality.
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Ferenc, Tomasz. "Nudity, Sexuality, Photography. Visual Redefinition of the Body." Qualitative Sociology Review 14, no. 2 (August 28, 2018): 96–114. http://dx.doi.org/10.18778/1733-8077.14.2.06.
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The article examines the relations between photography, body, nudity, and sexuality. It presents changing relations of photography with a naked or semi-naked body and different forms and recording conventions. From the mid-19th century the naked body became the subject of scientifically grounded photographic explorations, an allegorical motif referring to painting traditions, an object of interest and excitement for the newly-developed “touristic” perspective. These three main ways in which photographs depicting nudity were being taken at that time shaped three visual modes: artistic-documentary, ethnographic-travelling, and scientific-medical. It has deep cultural consequences, including those in the ways of shaping the notions of the corporeal and the sexual. Collaterally, one more, probably prevalent in numbers, kind of photographical images arose: pornographic. In the middle of the 19th century, the repertoire of pornographic pictures was already very wide, and soon it become one of the photographic pillars of visual imagination of the modern society, appealing to private and professional use of photography, popular culture, advertisement, art. The number of erotic and pornographic pictures rose hand over fist with the development of digital photography. Access to pornographic data is easy, fast, and cheap, thanks to the Internet, as it never was before. Photography has fuelled pornography, laying foundations for a massive and lucrative business, employing a huge group of professional sex workers. How all those processes affected our imagination and real practices, what does the staggering number of erotic photography denote? One possible answer comes from Michel Foucault who suggests that our civilization does not have any ars erotica, but only scientia sexualis. Creating sexual discourse became an obsession of our civilization, and its main pleasure is the pleasure of analysis and a constant production of truth about sex. Maybe today the main pleasure is about watching technically registered images, and perhaps that is why we may consider visual redefinition of the body as the main social effect of the invention of the photography.
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Wolthers, Louise. "Seeing through Scandinavian exceptionalism: Tina Enghoff’s photography." Journal of European Studies 47, no. 4 (October 24, 2017): 372–91. http://dx.doi.org/10.1177/0047244117733896.
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In the three works Seven Years (2010), Migrant Documents (2013) and Isolation (2017a), Danish photographer Tina Enghoff addresses the visual and social marginalization of immigrant women caught in abusive relationships, homeless migrants who live outside the welfare system and prisoners in solitary confinement. The article discusses how her projects probe established ideas about Denmark as an ideal Scandinavian welfare state, ostensibly with a high level of social equality and transparency, as well as low levels of injustice, crime and punishment. It is also argued that a photographic practice like Enghoff’s offers original and productive negotiations of questions of representation and visibility embedded in the social documentary genre.
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Deal, Claire E., and Pamela Fox. "Living with conviction: Connecting inmates and students through social documentary and photography." National Civic Review 95, no. 2 (2006): 59–63. http://dx.doi.org/10.1002/ncr.142.
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Willmann, Kate Sampsell. "Lewis Hine, Ellis Island, and Pragmatism: Photographs as Lived Experience." Journal of the Gilded Age and Progressive Era 7, no. 2 (April 2008): 221–52. http://dx.doi.org/10.1017/s1537781400001870.
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The origin of Lewis Hine's invention of social documentary photography can be found in his intellectual alliance to pragmatism. Reading Hine's photographs as primary sources of the author's intent, in context with Hine's progressive intellectual milieu and in contrast with his contemporaries, Jacob Riis and Alfred Steiglitz, reveals Hine as a self-conscious and tolerant commentator on the lives of individual immigrants and workers. Although Hine left the objects of his portraits mostly unnamed, through his documentary style, he conferred upon them individual identity in contrast to the nativism, exploitation, and social Darwinism that surrounded immigration issues in the early 1900s. Through his images, Hine transmitted his own perceptions of 1900s New York City, especially Ellis Island. Since Hine was inspired by William James's formulation of “lived experience,” the historian can read Hine through a lens of James's philosophy, solving the pragmatist problem of communicated language by replacing words with images.
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Mazur, Adam. "Brief Glimpses of Beauty. Thinking about the History of Lithuanian Photography." Acta Academiae Artium Vilnensis, no. 99 (July 5, 2021): 342–62. http://dx.doi.org/10.37522/aaav.99.2020.21.
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The article proposes a critical rethinking of the multi-layered phenomenon of Lithuanian photography. From the beginning, in the 19th century Lithuanian photography cherished an exceptional status within a cultural landscape, being considered a vehicle of lofty, patriotic emotions. The article is reassessing the social and cultural role of Lithuanian photo- graphers and is looking into a symptomatic lack of synchronicity with the medium’s grand narratives. The Lithuanian history of photography seems to be a consistent and exceptional narrative developed within a relative- ly small milieu of artists based in their homeland as well as Lithuanian émigrés. According to the author, indexical and documentary qualities of photography constitute the core of the phenomenon. The text is advocating inclusivity for non-Lithuanian authors, be it Polish Lithuanians, Russians, Jews, Germans, or Lithuanian Americans. Looking at photographs from the perspectives of literature (quoting Marcelijus Martinaitis and Tomas Venclova) and contemporary art (Jonas Mekas and Fluxus) may be also useful in reshaping and opening up the discourse of the discipline.
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Becker, Karin E. "Symbols of Ideal Life: Social Documentary Photography in America, 1890-1950. Maren Stange." Winterthur Portfolio 25, no. 1 (April 1990): 93–95. http://dx.doi.org/10.1086/496475.
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Takakura, Hiroki, and Sebastien Penmellen Boret. "The Value of Visual Disaster Records from Digital Archives and Films in Post-3/11 Japan." International Journal of Sustainable Future for Human Security 7, no. 3 (February 2021): 58–65. http://dx.doi.org/10.24910/jsustain/7.3/5865.
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This paper explores the value of visual records from natural disasters in assisting reconstruction, including photography, single-shot videos, and documentary movies. It considers three types of visual records related to the Great East Japan Earthquake: 1) raw data, 2) edited educational videos, and 3) commercial documentary films. It also considers the nature of disaster records and their repository medium, including digital data archives, public educational websites, and commercial networks. Furthermore, the authors consider the overlaps between these categories. Raw video records certainly meet the needs of either digital archives or documentary movies. However, commercial documentary movies form a category of their own, as copyright and scripts constrain their exploitation and manipulation. In conclusion, this paper identifies the merit of each type of visual record and argues that both are necessary for the social remembering of disasters and to help reconstruct communities affected by such events. Keywords: digital archives; films; disaster
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Kirkwood, Meghan. "Social documentary and personal investigations in contemporary South African photography: Tracey Derrick’s “One in Nine” series." Social Dynamics 40, no. 1 (January 2, 2014): 164–80. http://dx.doi.org/10.1080/02533952.2014.896492.
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Souza, Eneida Maria De. "Assis Horta: fotógrafo de um Brasil moderno / Assis Horta: the photographer of a modern Brazil." O Eixo e a Roda: Revista de Literatura Brasileira 28, no. 4 (December 5, 2019): 227. http://dx.doi.org/10.17851/2358-9787.28.4.227-246.
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Resumo: O fotógrafo profissional Assis Horta, natural de Diamantina, apresenta uma coleção de imagens de dimensão histórico-documental não só por ter registrado paisagens urbanas e humanas, mas por ter contribuído para a democratização do retrato no Brasil, adquirida por meio das leis trabalhistas. Reconhecida oficialmente em 1943 pela Consolidação das Leis do Trabalho no governo Vargas – com a aquisição da carteira de trabalho e Previdência Social –, a classe operária passa a ter seu registro em foto 3x4 (três por quatro) como prova de identidade. Com o fim da condição de invisibilidade social da classe, aos poucos é construída uma nova feição para a caracterização de povo e de cidadania no país. Na condição de um intérprete da sociedade pelo registro fotográfico, Assis Horta valoriza imagens do homem comum, registra cenas de família e contribui para o avanço dos estudos marginais sobre povo, nação e cidadania.Palavras-chave: Assis Horta; Diamantina; fotografia; homem comum; povo; cidadania.Abstract: The professional photographer, Assis Horta, born in Diamantina, presents a collection of images with a historical-documentary dimension, for not only registering urban and human landscapes, but also contributing to the democratization of the portrait in Brazil, acquired through labor laws. Recognized officially in 1943 by the Consolidation of Labor Laws in the Vargas government - with the acquisition of the labor and Social Security portfolio -, the working class is now photographed 3x4 as proof of identity. With the end of the condition of social invisibility of the class, a new feature is being constructed for the characterization of people and citizenship in the country. As an interpreter of society by the photographic registry, Assis Horta values images of the ordinary man, records scenes of family and contributes to the advancement of marginal studies on people, nation and citizenship.Keywords: Assis Horta; Diamantina; photography; ordinary man; people; citizenship.
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Allina, Eric. "“Fallacious Mirrors:” Colonial Anxiety and Images of African Labor in Mozambique, ca. 1929." History in Africa 24 (January 1997): 9–52. http://dx.doi.org/10.2307/3172017.
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African historiography has over the past decade begun to pay increasing attention to photographs as a source for African history. A growing body of work has raised a number of methodological and theoretical questions about how scholars can and should work with images. From their experience with written documents, historians are aware of the ideologically charged conditions under which colonial knowledge was produced. This awareness has armed scholars with a skepticism to look beyond the image itself and examine the physical and technological environment in which photographers worked. Posed studio shots that create “natural” settings and post-event retouching are only some of the practices photographers used to endow their images with a greater semblance of accuracy.Andrew Roberts and David Killingray's “outline” of photography in Africa charts the development of photographic techniques and how their use created specific kinds of images of Africa; Virginia-Lee Webb emphasizes photographers' manipulation of not only their subjects, but also the environment in which they were photographed. What this work has produced is an oft-spoken axiom that photographic images of Africa (or any other place) ought not be taken at face value. This axiom has guided a significant amount of scholarship, although Beatrix Heintze wisely cautions against overinterpretation.Scholars who work with written documentary evidence from the colonial period have well established the ways in which administrators, missionaries, and other Europeans represented Africans as an “other,” as they sought to create cultural and social distance between themselves and Africans. Still other scholars have combined written and oral materials to show how Africans established their own identities and interpreted colonial discourses to create alternative, liberating discursive spaces.
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Sánchez Caballero, Odelín. "The photographic discourse of the funds of the Institute of History of Cuba. An analysis for new uses." Latin-American Historical Almanac 30, no. 1 (June 28, 2021): 201–24. http://dx.doi.org/10.32608/2305-8773-2021-30-1-201-224.
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Photography is the most widely found unwritten textual document in the archives. For this reason, we propose a first approach to the photo-graphic funds of the historical archive of the Institute of History of Cu-ba (IHC) from a comprehensive perspective as a photographic corpus that carries a discourse and not in a fragmented way. For this we will use serialized reading, according to the themes, because it is in the col-lections and archival funds where photography acquires, as an informa-tive medium, true meaning. We will refer only to documentary photog-raphy, which in its testimonial quality preserves the perishable to the collective memory by referring to what happened in concrete reality with a specific time and space, always from the subjectivity of the pho-tographer, which is why it can be used as a historical source of knowledge. Through this work we propose a new institutional use, from the inside archive, that contributes to rescuing the patrimonial values of these funds as one of the essential photographic narratives of the history of Cuba and at the same time perfecting ourselves as public servants. It is not a simple case study, the Institute of History of Cuba is a unique institution in the network of social sciences in Cuba.
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McIsaac, Jacqueline. "Cameras in the Countryside: Recreational Photography in Rural Ontario, 1851-1920." Scientia Canadensis 36, no. 1 (June 26, 2014): 5–31. http://dx.doi.org/10.7202/1025787ar.
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The introduction and subsequent refinement of glass plate negative technology facilitated photography’s appropriation within rural Ontario. As a recreational consumer technology, the camera became easier to use, financially accessible, and portable, thus better suiting the needs of rural consumers. While technological advancements allowed the camera to be adopted as a leisure pursuit, its use was directed by the countryside’s cultural values and social norms. These interests influenced who used cameras, how photo-supplies were purchased, the camera’s place within household income diversification strategies, and the photographer’s gaze, all of which suggest that when photo-technology was used in the countryside, it was as an extension of, not a challenge to, rural cultural values. At the same time, as the first photography system that was accessible to the middle and labouring classes, glass plates cannot help but reveal the visual priorities this new group of consumers, thus contributing to current discussions on cultural aspects of rural society. Consequently, glass plate cameras in Ontario’s countryside functioned as both a documentary medium as well as a form of cultural expression.
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Irala-Hortal, Pilar. "La imagen como terapia = Image as therapy." REVISTA ESPAÑOLA DE COMUNICACIÓN EN SALUD 9, no. 2 (December 18, 2018): 237. http://dx.doi.org/10.20318/recs.2018.4502.
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Resumen: Cuando hablamos de fotografía solemos pensar en la captación de un momento o acontecimiento, probablemente caracterizado por breves impases de clímax y con una trascendencia cultural, social, artística o política. Bien se trate de fotografía artística o documental, tanto fotógrafos como historiadores o teóricos hemos abordado la imagen desde el enfoque de la preservación de un momento. En este caso la fotografía es un conservador de la memoria. Pero la fotografía puede cumplir otras funciones como la de ahondar, profundizar, extraer y exorcizar conocimientos o sentimientos íntimos con una finalidad terapéutica. No es baladí este poder de la imagen que ha sido contrastado en diferentes proyectos tanto médicos como sociales. El presente artículo tiene el objetivo de exponer qué es la fotografía terapéutica y cuáles son sus ámbitos de aplicación.Palabras clave: fotografía; enfermedad; terapia; cultura visual.Abstract: When we talk about photography, we are usually thinking of capturing one single moment. That event is probably characterized or classified by a cultural, social, artistic or political culture. Whether it is artistic or documentary photography, photographers, historians or theorists have thought the image as a visual conservator of our memory. However, photography can play other functions or roles such as deepening, extracting and exorcizing knowledge or profound feelings for therapeutic purposes. This is not a small power. In addition, this role of the image has been contrasted by different projects both medical and social. The purpose of this paper is to explain what the therapeutic photography is and what its scope of application is.Keywords: photography; illness; therapy; visual culture.
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Saayman Hattingh, Heidi M., and Rolf J. Gaede. "Photographer autonomy and images of resistance: the case of South Africa during the 1980s." Visual Communication 10, no. 4 (October 14, 2011): 499–525. http://dx.doi.org/10.1177/1470357211415780.
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This article examines the praxis of prominent photographers who were professionally active during the 1980s in South Africa, based on 26 personal interviews. The authors look at issues concerning practitioner autonomy, or the photographer’s freedom to make independent communication-related choices while working within social documentary or photojournalism genres. The data suggest that the majority of photographers operated on the level of strategic social actions with low levels of practitioner autonomy, using photography in the first instance as a ‘weapon’ in the fight against apartheid, actively forming collectives to assist with the distribution of resistance images internationally. In contrast, those photographers who opted to operate primarily as independent social commentators remained in the minority.
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Mersmann, Birgit. "Photo-translation." Target. International Journal of Translation Studies 32, no. 2 (July 7, 2020): 191–216. http://dx.doi.org/10.1075/target.20088.mer.
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Abstract This article introduces the concept of ‘photo-translation’ for studying documentary photography as a collaborative practice of visual translation. The visual-translational approach to photo documentation is applied in a novel way to the emerging field of contemporary migration photography, thus relating recent theoretical connections between translation and migration studies to explorations in visual studies. The study discusses how participatory and collaborative practices are increasingly used in contemporary photo documentation to challenge, if not remove, the relational ‘othering’ effect inherent in the photo-documentary representation of refugees, migrants and displaced peoples. The potential of translaboration as a mode of translational collaboration is explored through an in-depth analysis of two photo projects: (1) the participatory photo project Fotohistorias (Gomez and Vannini 2015), conducted by social and information scientists Ricardo Gomez and Sara Vannini in cooperation with migrants at the US–Mexico border; and (2) the collaborative photo–graphic novel project Lampedusa: Image Stories from the Edge of Europe (Migrant Image Research Group 2017), carried out by the Migrant Image Research Group under the guidance of Armin Linke. Demanding agency in visual translation proves to be essential for these participatory photo projects, since they aim to challenge dominant visual representations of how migration is narrated and represented in the media and academic discourse. For this reason, the investigation draws on new sociological approaches in Translation Studies in order to frame photo-translation as a social practice and as a form of (activist) engagement involving various agents and institutions.
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Willoughby-Herard, Tiffany. "Revolt at the source: the black radical tradition in the social documentary photography of Omar Badsha and Nadine Hutton." African Identities 11, no. 2 (May 2013): 200–226. http://dx.doi.org/10.1080/14725843.2013.797287.
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Boyd Maunsell, Jerome. "The Writer as Reporter: Portraiture in Literary Reportage and Documentary Writing." European Journal of Life Writing 9 (June 12, 2020): 43–69. http://dx.doi.org/10.21827/ejlw.9.36305.
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This article explores how several novelists in the first half of the twentieth century, including James Agee, Jack London, George Orwell, and John Steinbeck, portrayed other, often marginal, real lives in works of reportage and documentary writing—terms variously defined and utilised by critics and practitioners, but seen here as hybrid, intersecting forms of life writing. It argues that such work has an extremely artful element of verbal portraiture of real-life people, often in dialogue with photography. The process of writing and witnessing reportage work differs substantially from that of fiction. Focusing on certain factors key to the portraiture in reportage—including unfamiliarity, representativeness, standpoint, and objectivity—the article analyses these writers’ treatment of them. The extent to which these writers revealed their documentary or reportorial role to their subjects, or disguised it, is also considered. Moving between international, cultural, political and social contexts, and deeply informed by chance and accident, early twentieth century reportage emerges as a highly interactive, volatile, and intersubjective space in its portraiture of others, nonetheless defined finally by the writer’s point of view.
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Nordgaard, Ingrid. "Documenting/Performing the Vulnerable Body: Pain and Agency in Works by Boris Mikhailov and Petr Pavlensky." Contemporaneity: Historical Presence in Visual Culture 5 (November 30, 2016): 85–107. http://dx.doi.org/10.5195/contemp.2016.184.
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This article explores the concepts of pain and agency in the photography series Case History (1997–1998) by the Ukrainian photographer Boris Mikhailov, and in four performance-actions (2012–2014) by the Russian performance-activist Petr Pavlensky. Although they represent different generations and respond to different historical contexts, Mikhailov and Pavlensky share a focus on the wounded body. Taking both the documentary and performative aspects of these artworks into account, Nordgaard argues that the wounded body stands forth as a body of agency which also reflects the social, political, and historical settings in which it exists. The relational consideration of the two artists therefore offers important insights for understanding post-Soviet Ukraine and present-day Russia, and reflects on the correlation between the private and the public body. By placing Mikhailov and Pavlensky in dialogue with a broader discussion on spectatorship and the role and significance of “shock imagery” and spectacle in contemporary media, the article further suggests why artworks depicting the body in pain have both an ethical and political function.
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Gray, Breda. "‘Leaving Dublin’: Photographic portrayals of post-Celtic Tiger emigration – a sociological analysis." Sociological Review 67, no. 3 (October 2, 2018): 635–53. http://dx.doi.org/10.1177/0038026118795087.
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This article analyses David Monahan’s photographic portrait series of over 120 people before emigrating from post-Celtic Tiger Ireland, entitled ‘Leaving Dublin’. As a digital series that circulates across multiple media channels, it moves beyond the tradition of documentary photography into a more hybrid aesthetic, political and media environment. As well as inserting these images in multiple circulatory platforms and replicable formats, the series disrupts the dominant visual culture of emigration by expressively recasting how it is seen and thought. This article argues that the highly stylised and unsentimental aesthetic adopted by Monahan pushes the images beyond the established visual culture of sentimental departure, visualising instead transnational and multicultural histories and politics through complex circuits of migration. As such, it highlights what Mieke Bal sees as the instability of migratory culture in the city landscape. At the same time, however, it re-enacts particular social distinctions and divisions. Just as new trajectories, relationalites and stories ‘appear’ as constitutive of Dublin and contemporary mobility, so also other trajectories, relationalities and mobilities are disappeared in ways that keep an exclusionary topography and politics of mobility in place. This is evident in the insistent and persistent separation between Irish asylum-seeking/immigration and emigration-focused digital photographic projects. So, although digitisation facilitates reflexive ways of communicating contemporary migration, and Monahan’s project succeeds in forging subtle connections, it also re-enacts structured disconnection and forgetting.
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Крупник, Игорь Леонидович, and Светлана Павловна Карпухина. "REPRESENTATION OF DEATH EXPERIENCE IN THE S.SALGADO’S CREATIVE HERITAGE." ΠΡΑΞΗMΑ. Journal of Visual Semiotics, no. 2(24) (July 27, 2020): 74–90. http://dx.doi.org/10.23951/2312-7899-2020-2-74-90.
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В данной статье рассматриваются специфические особенности визуализации смерти в XX веке на примере фотографического наследия Себастьяно Сальгадо. Изучая смерть как один из ключевых элементов коллективного сознания, французский исследователь Филипп Арьес выделяет пять исторических этапов развития и изменения отношения человека к смерти. ХХ век, трагически прославившийся многочисленными войнами и драматическими событиями, повлекшими за собой массовые человеческие жертвы, согласно исследователю, становится временем «смерти перевернутой». Вытеснение смерти на периферию социальной и культурной жизни, которое заметил Ф. Арьес, отражает чувство страха перед смертью, ставшей табуированной и не заслуживающей внимания темой. Стремление к дистанцированию от смерти приводит к тому, что она становится доступной только при использовании различных опосредований, одним из которых является фотография, а медиатизация смерти позволяет создать ощущение подвластности данного феномена человеку, прирученности. В творчестве широко известного бразильского фотографа Себастьяно Сальгадо можно выявить ряд острых фотографических серий, посвященных визуализации мортальности различными способами. Фотографические образы смерти, созданные бразильским фотографом, становятся отражением опыта переживания и осмысления смерти. Обратив внимание на фотографические серии из Южной и Центральной Америки и Африки, можно увидеть, что образ смерти, став связующей нитью в творчестве Сальгадо, получает различные способы репрезентации. Основными способами отображения темы смерти становятся эстетизация и стремление к абстрактности контекста, за которые его работы подвергаются многочисленной критике. Фотографическое наследие Сальгадо становится важным звеном между документальной фотографией военных лет, вынужденно несущей в себе образы смерти, и виртуальными изображениями смерти в современных медиа. This article addresses the specific features of visualization of death in the 20th century on the example of the photographic heritage of Sebastião Salgado. Studying death as one of the key elements of collective consciousness French scholar Ph. Aries distinguishes five historical periods of development and modification of the attitude towards death. XX century is tragically known for its numerous wars and dramatic events resulting in massive loss of life and - following the scholar - became the time of “reversed death”. Displacement of death to the periphery of social and cultural life which was noted by Aries, shows the feeling of fear of death which became not worth mentioning taboo. The effort to distance ourselves from death leads to the fact that death becomes available only with help of various indirect methods such as photography. Mediatization of death allows to create a feeling of control over that phenomenon. In creative works of widely known Brazilian photographer S. Salgado one can identify a number of different series dedicated to visualization of mortality. Photo images of death created by the Brazilian photographer become a projection and conceptualization of death. Looking at photo series from South and Central Africa and America one can conclude that the image of death – the central theme of Salgado’s work – gets various ways of representation. The main ways of representation of death became aestheticization and the quest for abstract context for which his works are seriously criticized. The photographic heritage of Sebastião Salgado became an important link between documentary photography of wartime involuntarily filled with images of death and virtual images of death in modern media.
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Golec, Michael J. "Facts Between Pictographs and Photographs in Lester Beall's Rural Electrification Posters, 1937-1941." eitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 60. Heft 1 60, no. 1 (2015): 17–38. http://dx.doi.org/10.28937/1000106254.
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In analysing Lester Beall's posters for the U.S. government between 1937-1941, Michael Golec demonstrates the twofold character of facts in art and design appearing even when they are applied to guarantee distinct messages. Commissioned by the governmental agencies to develop a series of posters to increase the electrification of rural farms, Beall introduces pictograms in his first series to represent electrification as “facts of the future.” Its simple forms facilitate the travelling of this facts without loss of their integrity. The same holds true for the use of photographic images for the second campaign of 1939. Following the revaluation of photography as a means for the documentation of social reality, as represented by the FSA photographers under the guidance of Roy Stryker, the medium served here as the authentication of facts. Golec holds, that Beall by reducing the complexity of the photographic images, to create a pictorial integrity of his posters, even despite of the use of a seemingly documentary medium, reinforces the ambivalent factual character of the pictures. So, paradoxically by heightening the communicative character of the design and hence stressing the idea of facts as integral realities outside of artworks, Beall's posters reveal the ambiguous character of pictorial facts creating their own specific qualities. Golec concludes, that facts in works of art and design have a twofold character resulting from their belonging to different spaces, which although meant to accomplish and address different facts, inevitably travel, overlap and bleed into each other. Thus oddly these facts refer or represent reality and simultaneously are a thing made (factum) that present and hold their own pictorial reality.
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Smith, Terry. "Reading American Photographs: Images as History, Mathew Brady to Walker Evans. Alan TrachtenbergSymbols of Ideal Life: Social Documentary Photography in America 1890-1950. Maren StangeDocumenting America, 1935-1943. Carl Fleischhauer , Beverly W. Brannan." Archives of American Art Journal 31, no. 2 (January 1991): 21–31. http://dx.doi.org/10.1086/aaa.31.2.1557716.
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Craig, Robert L. "Photography in American History, Culture and Society: A Review Esssay Stange, Maren. Symbols of Ideal Life, Social Documentary Photography in America, 1890-1950. Cambridge University Press, Cambridge, 1989, 190.pp. Trachtenberg, Alan. Reading American Photographs, Images as History, Mathew Brady to Walker Evans. Hill and Wang. 1989, 326 pp." Journal of Communication Inquiry 14, no. 2 (July 1990): 106–15. http://dx.doi.org/10.1177/019685999001400207.
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Turner, Tim. "‘Just Knocking out Pills’: An Ethnography of British Drug Dealers in Ibiza." Journal of Extreme Anthropology 3, no. 1 (March 12, 2019): 102–20. http://dx.doi.org/10.5617/jea.6694.
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Background: Drawing on ethnographic fieldwork with British seasonal workers and tourists, this paper provides an extensive overview of the methodological processes of researching drug users and drug dealers within the international nightlife resort of Ibiza. In an innovative application of Bryman’s (2004) Disneyization framework, it is argued that seasonal workers are engaged in a deep form of performative labour. As mediators of Ibiza’s hedonistic atmosphere, this social group are revealed to be deeply immersed in the island’s renowned drug market. Methods: Ethnographic fieldwork employing a grounded theory design was undertaken over three summers in tourist locations across Ibiza, including: nightclubs; bars and cafes; beaches; airports and hotels. Field notes from participant observation were supplemented with data from semi-structured interviews (n=56). Documentary photography was also employed, with 580 images taken during fieldwork. Results and Conclusion: Many British seasonal workers in Ibiza are rapidly enmeshed within the drug market associated with the island’s hedonistic nightlife. Participants in this study were invariably engaged in high levels of illicit drug use, and unlike their tourist counterparts, this was drawn out over several months. As a consequence of the fragile nature of employment within the legal economy, many seasonal workers in Ibiza rely on income from drug dealing. In a social context where drug use is woven into the consumer space, it seems the multiple risks associated with the drug trade are obfuscated. The paper demonstrates that ethnographic immersion within bounded play spaces is essential if researchers are to generate theoretical insight into the complex intersections between illicit drug use, dealing and social context.
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Rosen, Rhoda. "The Documentary Photographer and Social Responsibility." de arte 27, no. 45 (April 1992): 4–14. http://dx.doi.org/10.1080/00043389.1992.11761138.
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López Landabaso, Patricia. "La performance en el vídeo, en la fotografía y en la telepresencia." Ñawi 1, no. 2 (June 29, 2017): 18. http://dx.doi.org/10.37785/1001202.
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Revisión sobre las posibilidades de la Performance con la aparición en su momento de nuevas tecnologías, como la fotografía, el vídeo o las tecnologías de comunicación como Internet, ha hecho posible que una acción perdure más allá del momento de su realización, constituyendo un fondo documental, pero con la duda de si la reacción que provoca es diferente o no a la que provocó en aquel instante y, además, al cuestionamiento de la importancia tanto del tiempo como del espacio en la realización de la Performance. Lo incuestionable es que en el momento actual son muchas las performances que se realizan pensadas en exclusiva para la cámara y/o su exhibición en redes sociales de comunicación, dando lugar a la aparición de la video-performance, la foto-performance o la teleperformance.
Review of the possibilities of Performance with the appearance, at the time, of new technologies such as photography, video and communications technologies like the Internet, has made it possible that an action will last beyond the time of its completion , constituting a documentary background. It also questions the importance of both time and space in the realization of the Performance. The unquestionable is that at present there are many performances there are many performances that are exclusively designed for the camera and / or the display in social communication networks, leading to the appearance of the video-performance , photo- performance or teleperformance .
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López Landabaso, Patricia. "La performance en el vídeo, en la fotografía y en la telepresencia." Ñawi 1, no. 2 (June 29, 2017): 18. http://dx.doi.org/10.37785/nw.v1n2.a2.
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Revisión sobre las posibilidades de la Performance con la aparición en su momento de nuevas tecnologías, como la fotografía, el vídeo o las tecnologías de comunicación como Internet, ha hecho posible que una acción perdure más allá del momento de su realización, constituyendo un fondo documental, pero con la duda de si la reacción que provoca es diferente o no a la que provocó en aquel instante y, además, al cuestionamiento de la importancia tanto del tiempo como del espacio en la realización de la Performance. Lo incuestionable es que en el momento actual son muchas las performances que se realizan pensadas en exclusiva para la cámara y/o su exhibición en redes sociales de comunicación, dando lugar a la aparición de la video-performance, la foto-performance o la teleperformance.
Review of the possibilities of Performance with the appearance, at the time, of new technologies such as photography, video and communications technologies like the Internet, has made it possible that an action will last beyond the time of its completion , constituting a documentary background. It also questions the importance of both time and space in the realization of the Performance. The unquestionable is that at present there are many performances there are many performances that are exclusively designed for the camera and / or the display in social communication networks, leading to the appearance of the video-performance , photo- performance or teleperformance .
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Cirolia, Liza Rose, Nobukhosi Ngwenya, Barry Christianson, and Suraya Scheba. "Retrofitting, repurposing and re-placing: A multi-media exploration of occupation in Cape Town, South Africa." plaNext - next generation planning 11 (July 2021): 144–65. http://dx.doi.org/10.24306/plnxt/69.
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The vast majority of city planning literature on informal occupations has focused on how residents occupy vacant and peripheral land, developing informal structures to address their basic needs. A smaller body of work, but one with much purchase in South Africa, explores the informal occupation of existing formal structures and how residents infuse these emergent places with social and political meaning. Across this work, occupations represent a dominant mode of city-building in the Global South. Contributing to this debate on city-making and occupations, this paper departs from an unusual case of South African occupation. We explore how displaced people have occupied a multi-storey vacant hospital building situated close to Cape Town’s city centre. Using documentary photography and interviews with residents, we argue that this occupation reflects a logic of ‘retrofit city-making’. We show that, through processes of repairing, repurposing, and renovating, dwellers have retrofit an institutional building, previously designed by the state for a very different use, to meet their needs and desires. As cities become more densely built and vacant land more peripheral or scarce, the retrofit of underutilised buildings, particularly through bottom-up actions such as occupation, will become an increasingly important mode of urban development. Not only are the practices of material transformation useful to understand, so too are the ways in which occupations reflect significantly more than simply survivalist strategies, but also care and meaning-making.
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Henry, Todd M. "PHOTOESSAY: Gangsters in Paradise: The Deportees of Tonga." Pacific Journalism Review : Te Koakoa 25, no. 1&2 (July 31, 2019): 278–91. http://dx.doi.org/10.24135/pjr.v25i1.489.
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This photoessay is based around photographs taken during the making of the documentary Gangsters in Paradise: The Deportees of Tonga. As a documentary photographer with a tendency to focus on social issues and subcultures, the author was interested in documenting the lives of deportees in Tonga. Through the film, he hoped to highlight the various complexities of identity, belonging and adaptation in relation to the deportee community of Tonga. More importantly, he wanted to start a conversation in Tonga itself regarding how this growing community can be better supported and understood by the wider Tongan public.
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De Gracia, José Antonio. "Prácticas emergentes en proyectos de espacio público: el caso de vía Argentina en ciudad de Panamá." on the w terfront Public Art Urban Design Civic Participation Urban Regeneration 63, no. 6 (July 2, 2021): 3–33. http://dx.doi.org/10.1344/waterfront2021.63.6.01.
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This article uses an urban intervention in Panama City to discuss fundamental concepts in public space projects from a critical and theoretical perspective.First, the functions of the street as a basic structure of public space are illustrated. Its importance is recognized not only as an element of urban connectivity, but also as a place of movement, encounter, support and creation of urban meanings and social identities.Secondly, our case study is contextualized: the urban renewal of via Argentina, a street in the urban center whose environment was in a state of degradation like most streets in the city, largely occupied by the presence of vehicles. The intervention is part of a series of urban projects aimed at improving the physical structure of the city.The third section begins a critical analysis of the actions on Via Argentina, starting with the redistribution of street space, the relationship between vehicles and pedestrians, and the consolidation of public space.Next, we discuss in detail the new primary elements used for the urbanization of the street. Curbs, fords, pavement, rigola, gutters, tree surrounds and bollards become part of a system that must maintain a coherent relationship between all its parts. In addition, emphasis is placed on the design of the ground and the application of the pavement as a tool for the construction of an urban image and identity.Finally, the article ends with an analysis of the parameters of accessibility in the project, relating the concept to the use of the pavement and the configuration in some sections of the street as a single platform. The article uses a wide repertoire of documentary photography to contextualize the case study.
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Kotlyar, Eugeny. "Jewish Childhood Transformed: Through the Looking Glass of Art and Visual Representation in Pre- and Post-Revolutionary Russia." IMAGES 12, no. 1 (October 24, 2019): 33–55. http://dx.doi.org/10.1163/18718000-12340114.
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Abstract The present article studies the thematic ways in which Jewish childhood was represented in Russian Jewish art and visual media from the 1850s to the 1930s. During this period, Russian Jewry was undergoing important transformations. It saw the establishment of a traditional model of religious life, a subsequent process of modernization and acculturation, and finally the education of the “New Jew” as part of post-Revolutionary secular culture, as well as the seeding of extreme forms of radicalization that would develop in the Soviet era. Jewish art and visual media were always a documentary means of representing collective ideals, key among which was the value associated with Jewish children’s future. The images preserved in art, photography, and print show how diligent study for boys and young men was extolled in traditional communities; this resulted in the formation of an intellectual elite that served as a bulwark of religious and spiritual self-consciousness against outside cultural influences. Along with historical-statistical studies and memoirs, these images recreate a psycho-emotional and social background for the traditional model of children’s education. On the one hand, this model perpetuated the lifestyle and values established over the centuries, yet on the other, it sparked charges of anachronism and fanaticism, which intensified the antagonism of Russian society toward its Jewish minority. The same model proved to be extremely influential for the Jewish masses; it came by its iconic visual representation in various “Cheder” compositions and portraits of the “Talmudist Iluy.” Both types of works brought out the value of religious education. Later artistic depictions demonstrated that upon passing through the grinder of the Soviet atheist system, this model inspired the zeal that Jews had for secular education and the prospect of their children’s being granted equal opportunity, resulting in the loss of their ethno-cultural identity in the new Soviet reality.
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Mampaso, Ana. ""La Fortuna, por siempre y para siempre”, a cross-generational and participatory documentary." Encounters in Theory and History of Education 11 (September 30, 2010): 25–34. http://dx.doi.org/10.24908/eoe-ese-rse.v11i0.2409.
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In this paper we reflect about the participatory video methodology, use video creatively in group development work, through the creation process of “La Fortuna por siempre y para siempre”documentary; a personal point of view from twenty eight children, six youngsters and nine adults about life and living together in the neighborhood “La Fortuna”. Photo camaras, vídeo camaras, words, feellings and creativity are the tolls they used.
The documentary is part of a communication and educational project that invites the participants to use video and photographic language to reflect on their identity and the world where they live. Most local people live in difficult situation and the neighborhood have a very high ratio of inmigrants.
The documentary project promotes the active participation and the social integration of people and collectives from different ages, social conditions, origins and cultures.
It was organized by the Intercultural and Emigration Program of La Fortuna Local Government Cabinet depended on Leganés City Council.
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Turnbull, Gemma-Rose. "Navigating Socially Engaged Documentary Photographic Practices." Nordicom Review 36, s1 (July 7, 2020): 79–95. http://dx.doi.org/10.1515/nor-2015-0031.
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AbstractAs Documentary Photographers increasingly introduce the collaborative and participatory methodologies common to socially engaged art practices into their projects (particularly those that are activist in nature, seeking to catalyse social change agendas and policies through image making and sharing), there is an increased tension between the process of production and the photographic representation that is created. Over the course of the last five years I have utilised these methodologies of co-authorship. This article contextualizes this kind of transdisciplinary work, and examines the ways in which the integration of collaborative strategies and co-authored practice in projects that are explicitly designed to be of benefit to a primary audience (the participants, collaborators and producers) might be usefully disseminated to a secondary audience (the general public, the ‘art world’, critics etc.) through analysis of my projects Red Light Dark Room; Sex, lives and stereotypes made in Melbourne, Australia, and The King School Portrait Project made in Portland, Oregon, America.
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Chivers, Sally. "Reimagining care: images of aging and creativity in House Calls and Year at Sherbrooke." International Journal of Ageing and Later Life 7, no. 2 (April 12, 2013): 53–71. http://dx.doi.org/10.3384/ijal.1652-8670.1272a3.
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This article looks at the relationship between the esthetic and documentary commentaries offered by two National Film Board of Canada (NFB) productions, chosen because they use the documentary form to interpret aging and care in Canada for Canadians, offering a Canadian example of an issue that is of international importance. The first film, House Calls (Ian McLeod 2004), follows the work of Mark Nowaczynski, a physician who photographs his elderly patients to illustrate their dignity amidst what he perceives to be their fragility and vulnerability. The second, A Year at Sherbrooke (Thomas Hale 2009), follows artists Thelma Pepper and Jeff Nachtigall who work with residents of a Saskatoon long-term care facility - Pepper continues her longer term practice of photographing the residents and Nachtigall takes on a new role of artist-in-residence in which he mentors them in their own creative development. Analyzing the role of photography in each film, the article shows that, together, the films demonstrate that images of aging beyond mere decline may play a role in reimagining how care for older adults takes place.
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Zvereva, Galina I. "COLLECTIVE MEMORY OF THE SOVIET PAST ON YOUTUBE: TECHNIQUES FOR AUDIOVISUAL CONSTRUCTION BY ORDINARY VIDEO BLOGGERS." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 8 (2020): 133–47. http://dx.doi.org/10.28995/2686-7249-2020-8-133-147.
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The YouTube platform hosts a multitude of video clips that contain various media representations of the collective memory of Soviet history. In this array of multimedia products, videos created by ordinary bloggers take their own place. Videos with themes about the recent Past are formed on the basis of digitized fragments of documentary and fiction films, photographs, posters, postcards, drawings, etc. Verbal comments of viewers-users to videos expand and change their semantic content. The purpose of the article is to reveal in the videos of ordinary bloggers various techniques for audiovisual constructing the collective memory of the mass repression of the 1930s and the Gulag. The criteria for selecting sources for the study are: the time they were posted on the YouTube platform (2010s), video bloggers claim to be documentary, the number of comments. The research results demonstrate that bloggers shape clusters of collective memory of the repressions and the Gulag using audiovisual signs and symbols that are easily recognizable by viewers. The same photographs and film fragments can “work” in video differently depending on how they relate to the verbal and audio components of multimodal text. The techniques used by bloggers for audiovisual documentation of the Soviet Past combine pre-digital and digital technologies. The selection of certain audiovisual components as “raw data” for video, their montage, giving historical figures certain roles, organizing time and space in a digital narrative, including different social and political contexts in it, all allow bloggers to form various representations of the collective memory of the Soviet past, depending on their ideological positions.
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Woodward, Kathleen. "A public secret: assisted living, caregivers, globalization." International Journal of Ageing and Later Life 7, no. 2 (April 12, 2013): 17–51. http://dx.doi.org/10.3384/ijal.1652-8670.1272a2.
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Frail elderly and their caregivers are virtually invisible in representational circuits (film, the novel, photography, television, the web, newspapers), with the elderly habitually dismissed as non-citizens and their caregivers often literally not citizens of the nation-states in which they work. How can we bring what is a scandalous public secret of everyday life into visibility as care of the elderly increasingly becomes a matter of the global market in our neoliberal economies? This essay explores the representation of caregivers and elders, together, in photographs, the memoir, news and feature stories, and documentary film, suggesting that one of the most effective modes of advocating for changes in public policy is engaging people’s understanding through stories and images. In this study, I consider stories of assisted living, which involve elders, who are white, and paid caregivers, who are people of color, gendered female, and part of global care chains; these stories include American writer Ted Conover’s New York Times Magazine feature story ’’The Last Best Friends Money Can Buy’’ (1997) and Israeli Tomer Heymann’s documentary film ’’Paper Dolls’’ (2006). Of key importance is a feeling of kinship as new forms of the family take shape.