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Journal articles on the topic 'War photography – Case studies'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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1

MORRIS-REICH, AMOS. "Anthropology, standardization and measurement: Rudolf Martin and anthropometric photography." British Journal for the History of Science 46, no. 3 (February 23, 2012): 487–516. http://dx.doi.org/10.1017/s000708741200012x.

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AbstractRecent scholarship on the history of German anthropology has tended to describe its trajectory between 1900 and the Nazi period as characterized by a paradigmatic shift from the liberal to the anti-humanistic. This article reconstructs key moments in the history of anthropometric photography between 1900 and 1925, paying particular attention to the role of the influential liberal anthropologist Rudolf Martin (1864–1925) in the standardization of anthropological method and technique. It is shown that Rudolf Martin's primary significance was social and institutional. The article reconstructs key stages in Martin's writing on and uses of photography and analyses the peculiar form of scientific debate surrounding the development of anthropometric photography, which centred on local and practical questions. Against the political backdrop of German colonialism in Africa and studies of prisoners of war during the First World War, two key tensions in this history surface: between anthropological method and its politicization, and between the international scientific ethos and nationalist impulses. By adopting a practical–epistemic perspective, the article also destabilizes the conventional differentiation between the German liberal and anti-humanist anthropological traditions. Finally, the article suggests that there is a certain historical irony in the fact that the liberal Martin was central in the process that endowed physical anthropology with prestige precisely in the period when major parts of German society increasingly came to view ‘race’ as offering powerful, scientific answers to social and political questions.

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Fowler, Martin J. F. "The application of declassified KH-7 GAMBIT satellite photographs to studies of Cold War material culture: a case study from the former Soviet Union." Antiquity 82, no. 317 (September 1, 2008): 714–31. http://dx.doi.org/10.1017/s0003598x00097337.

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Forty years after they were originally acquired for intelligence purposes, declassified US photographs from the KH-7 GAMBIT photo reconnaissance satellite programme, together with contemporary declassified intelligence reports, are being used to shed light on Cold War sites in the former Soviet Union. The method should have a great future for understanding the changes to the landscape in Europe over the last 60 years. The material impact of the Cold War was no less fundamental than other wars hotter in nature.

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Jackson, Amanda Crawley. "Retour/détour: Bruno Boudjelal's Jours intranquilles." Nottingham French Studies 53, no. 2 (July 2014): 201–15. http://dx.doi.org/10.3366/nfs.2014.0086.

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This paper explores the photographic series made by French-Algerian artist Bruno Boudjelal in Algeria during the ‘black decade’ of civil war in the 1990s. The paper opens with a study of the artist's return to Algeria following the disclosure of his hidden Algerian origins, but makes the case that this retour is better described as a détour, in which the linear temporalities of return and the teleology of origin give way to a provisional intersection of trajectories and an ongoing, negotiated sense of cultural identity. It then goes on to consider the ways in which Boudjelal's images, in their negotiation of the well documented regime of (in)visibility that prevailed in Algeria during that period, re-work the indexicality of the photographic medium by means of an indirect (or détourné) representational practice that facilitates a reappraisal of what constitutes the ‘real’ in a context where the real is manipulated for politico-ideological reasons through censorship and spectacle.

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Junger, Ernst, and Anthony Nassar. "War and Photography." New German Critique, no. 59 (1993): 24. http://dx.doi.org/10.2307/488220.

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Turda, Marius. "Between States: The Transylvania Question and the European Idea during World War II. By Holly Case. Stanford: Stanford University Press. 2009. xix, 349 pp. Notes. Index. Illustrations. Photographs. Tables. Maps. $60.00, hard bound." Slavic Review 69, no. 2 (2010): 448–50. http://dx.doi.org/10.1017/s0037677900015096.

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Chiozzi, Paolo. "Photography and anthropological research: Three case studies." Visual Sociology 4, no. 2 (March 1989): 43–50. http://dx.doi.org/10.1080/14725868908583636.

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Kennedy, Liam. "“A Compassionate Vision”: Larry Burrows's Vietnam War Photography." Photography and Culture 4, no. 2 (July 2011): 179–94. http://dx.doi.org/10.2752/175145211x12992393431250.

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Rafael, Vicente L. "Photography and the Biopolitics of Fear." positions: asia critique 28, no. 4 (November 1, 2020): 905–33. http://dx.doi.org/10.1215/10679847-8606621.

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President Rodrigo Duterte’s drug war in the Philippines has exacted an enormous toll in human lives and suffering. This essay looks into one of the earliest and most graphic responses to this war: the work of photojournalists and the plurality of responses to their images. How does photojournalism become a kind of witnessing linked to the work of mourning? How are trauma and grieving braided together in the experience of photographers covering war? What is the role of the camera, and what are the ambivalent effects of the technical and aesthetic imaging of the dead and their survivors? How has the drug war, by instilling a biopolitics of fear, transformed the latter’s ways of seeing and being? What becomes of justice amid images of injustice? For example, how do returning spirits of the dead that appear in dreams of their families stimulate phantasms of revenge? How is revenge imagined as a form of justice that reinforces rather than detracts from the brutal logic of the drug war?

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Smith, Douglas. "Funny Face Humanism in Post-War French Photography and Philosophy." French Cultural Studies 16, no. 1 (February 2005): 41–53. http://dx.doi.org/10.1177/0957155805049565.

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Danchev, Alex. "War Photography, the Face, and Small Acts of Senseless Kindness." Journal for Cultural Research 15, no. 2 (April 2011): 113–29. http://dx.doi.org/10.1080/14797585.2011.574051.

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11

Dunlop, Sarah, and Peter Ward. "Narrated Photography." Fieldwork in Religion 9, no. 1 (March 20, 2015): 30–52. http://dx.doi.org/10.1558/fiel.v9i1.30.

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This article describes how a recently refined visual ethnographic research method, “narrated photography,” contributes to the study of religion. We argue that this qualitative research method is particularly useful for studies of lived religion and demonstrate this through examples drawn from a study the sacred among young Polish migrants to England. Narrated photography, which entails asking people to photograph what is personally significant to them and then to narrate the image, generates visual and textual material that mediates the subjective. Through using this method we discovered that family was considered to be sacred, both in terms of links to religious practice and a desire for a secure home which family relationships provide. Additionally, narrated photography has the potential to expand our conceptions of lived religion through the inclusion of visual material culture and the visual context of the research participants. In this case the data revealed that the Polish young people view structures within their landscape through a particularly Polish Catholic lens. These findings shed light on the religious tensions that migrants encounter in everyday life.

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Diack, Heather. "Hand over fist: a chronicle of Cold War photography." Visual Studies 30, no. 2 (May 4, 2015): 182–94. http://dx.doi.org/10.1080/1472586x.2015.1024963.

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Trnkova, Petra. "Photography in 1848: Five Case Studies from Central Europe." History of Photography 43, no. 3 (July 3, 2019): 233–50. http://dx.doi.org/10.1080/03087298.2019.1643546.

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Harris, Dianne. "Case Study Utopia and Architectural Photography." American Art 25, no. 2 (July 2011): 18–21. http://dx.doi.org/10.1086/661964.

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MACDONALD, DIANE B. "TURNING WAR STORIES INTO CASE STUDIES." Journal of Legal Studies Education 9, no. 3 (September 1991): 437–49. http://dx.doi.org/10.1111/j.1744-1722.1991.tb00208.x.

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DeSanto, Barbara. "From war stories to case studies." Journal of Communication Management 6, no. 1 (January 2002): 64–69. http://dx.doi.org/10.1108/13632540210806946.

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Mustafa, Asma. "Faith and Photography." Fieldwork in Religion 9, no. 2 (August 3, 2015): 166–81. http://dx.doi.org/10.1558/firn.v9i2.14821.

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This article explores the usage of the innovative method of auto photography in eliciting perceptions of religious identity. The article explores auto-photography as a research tool assisting in understanding religious identity and identification. Using static images in auto-photography triggers the respondents in expressing their connection to their faith. These images have a potential to generate further discussion on the subject matter of faith, religiousness and belief. Auto-photography is a helpful instrument in bridging spiritual feelings/thoughts and religiously oriented actions. It encourages respondents to express their feelings regarding faith after exploring the images taken using a camera. This article debates the use of auto photography through the case study of young Muslims in Britain. Based on this research project, the auto-photography method will be analysed as a research tool, revealing its usefulness in exploring faith matters and the challenges of using this method.

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Brooke, Stephen. "War and the Nude: The Photography of Bill Brandt in the 1940s." Journal of British Studies 45, no. 1 (January 2006): 118–38. http://dx.doi.org/10.1086/497058.

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Low, David. "Resistance and Renewal: Ottoman Armenian ‘Soldiers’ Photography’ during the First World War." zeitgeschichte 45, no. 2 (July 16, 2018): 155–76. http://dx.doi.org/10.14220/zsch.2018.45.2.155.

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McCulloch, Lynsey, and Rob Tovey. "Shot at Dawn: Late photography and the anti-war memorial." Visual Studies 34, no. 2 (April 3, 2019): 93–106. http://dx.doi.org/10.1080/1472586x.2019.1653791.

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Brett, Donna MF. "The Uncanny Return: Documenting Place in Post-war German Photography." Photographies 3, no. 1 (April 14, 2010): 7–22. http://dx.doi.org/10.1080/17540760903561074.

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Oldfield, Pippa. "Women’s Photography and the American Civil War: The Case of Elizabeth Beachbard, Ambrotypist." History of Photography 44, no. 1 (January 2, 2020): 16–35. http://dx.doi.org/10.1080/03087298.2020.1848764.

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Spunta, Marina. "Italian Humanist Photography. From Fascism to the Cold War." Italian Studies 73, no. 4 (September 3, 2018): 462–64. http://dx.doi.org/10.1080/00751634.2018.1514764.

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Kubicki, Francesca. "Recreated Faces: Facial Disfigurement, Plastic Surgery, Photography and the Great War." Photography and Culture 2, no. 2 (July 2009): 183–94. http://dx.doi.org/10.2752/175145109x12456654102849.

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Dardess, John W. "FROM CIVIL WAR TO THE MING FOUNDING: THE VERBAL PHOTOGRAPHY OF LIU SONG." Ming Studies 2014, no. 69 (April 17, 2014): 5–26. http://dx.doi.org/10.1179/0147037x14z.00000000021.

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Hicks, Jeremy. "Through Soviet Jewish Eyes: Photography, War, and the Holocaust by David Shneer (review)." Shofar: An Interdisciplinary Journal of Jewish Studies 31, no. 3 (2013): 176–78. http://dx.doi.org/10.1353/sho.2013.0045.

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Halberstein, R. A. "The Application of Anthropometric Indices in Forensic Photography: Three Case Studies." Journal of Forensic Sciences 46, no. 6 (November 1, 2001): 15168J. http://dx.doi.org/10.1520/jfs15168j.

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Brooke, Stephen. "Revisiting Southam Street: Class, Generation, Gender, and Race in the Photography of Roger Mayne." Journal of British Studies 53, no. 2 (April 2014): 453–96. http://dx.doi.org/10.1017/jbr.2014.10.

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AbstractThis article examines pictures taken by the British photographer Roger Mayne of Southam Street, London, in the 1950s and 1960s. It explores these photographs as a way of thinking about the representation of urban, working-class life in Britain after the Second World War. The article uses this focused perspective as a line of sight on a broader landscape: the relationship among class, identity, and social change in the English city after the Second World War. Mayne's photographs of Southam Street afford an examination of the representation of economic and social change in the postwar city and, not least, the intersections among class, race, generation, and gender that reshaped that city.

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Chung, Jae Won Edward. "Maps of Life and Abjection: Reportage, Photography, and Literature in Postwar Seoul." Journal of Asian Studies 79, no. 2 (December 19, 2019): 335–65. http://dx.doi.org/10.1017/s002191181900069x.

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The collapse of the Japanese empire unleashed in the streets of Seoul new everyday epistemologies and affects closely tied to evolving relationships across media. This article analyzes how reportage, photography, and literature in post-liberation and post-Korean War South Korea synergistically addressed pressing postcolonial and neocolonial questions, the weight of which could be felt in the realm of daily life: What does liberation look like in the marketplace? How should we make sense of the foreign military presence in Seoul after the Korean War? What are the effects of foreign consumer goods on the minds and bodies of the people and the nation's sovereignty? The article shows how South Korean cultural actors responded to the increasing commodification of everyday life by bringing critical attention to the uneasy relationship between the body, foreign commodity-signs, and artifacts of mass visuality. These intermedial accounts succeeded in linking the granular experiences of everyday life to larger historical and geopolitical forces and making visible how the encroachment of mass media products and commodity-signs were transforming the very means by which the everyday could be represented.

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Akrap, Gordan, and Viacheslav Semenienko. "Hybrid warfare case studies - Croatia and Ukraine." National security and the future 21, no. 1-2 (December 15, 2020): 9–22. http://dx.doi.org/10.37458/nstf.21.1-2.1.

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Croatia’s Homeland war and aggression to Ukraine are clear examples that can be described with term Hybrid warfare. Different phases during conflict and war (every conflict is not a war; every war is a conflict) has a lot of similarities, but also has a difference. It is important to make deeper analysis to provide better and efficient lessons-learned preventive and active measures for future conflicts. This article starts with a short overview of Croatia’s Homeland war and continues with short overview of Ukrainian experience. It contains lessons-learned tools and suggestions for future activities.

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White, Nina. "“Propaganda for peace”: a Gramscian reading of Irish and Spanish Civil War photography." Estudios Irlandeses, no. 16 (March 17, 2021): 125–38. http://dx.doi.org/10.24162/ei2021-10072.

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At the outset of the Spanish Civil War, Ireland’s ruling party were faced with the challenge of maintaining political hegemony. Revealing the old fault lines of the Irish Civil War, the opposition cast the government’s Non-intervention policy as pro-Communist and anti-Catholic; a refusal to support Spanish insurgents in what was perceived by the majority as their defence of the Catholic faith. Following McNally, this paper utilises Gramsci’s theory of hegemony to explore political equilibrium in the contexts of the Irish and Spanish conflicts. The notion of the “organic intellectual” enables a Gramscian reading of war photography, finding common visual language in the works of Robert Capa and W.D. Hogan as they contributed to national and transnational projects of hegemony. Through such a reading, the author finds cultural compatibility between the conflicts and casts the Irish revolutionary period in new international light.

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Mendikulova, Gulnara M., and Yevgeniya A. Nadezhuk. "Archival Documents on the European Prisoners of World War I in the Semirechye Oblast of the Turkestan General Governorship: A Case Study." Herald of an archivist, no. 4 (2018): 996–1008. http://dx.doi.org/10.28995/2073-0101-2018-4-996-1008.

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The article uses the method of case study and draws on documents discovered by the authors in the fonds of the Central State Archive of the Republic of Kazakhstan (TsSA RK) to reconstruct the captivity in Semirechye of a party of prisoners of war from German and Austro-Hungarian armies. The purpose of this work is to study microhistory and history of the everyday life of the European prisoners of World War I in Kazakhstan: their welfare and economic conditions, social and ethno-confessional relations in their world, their interactions with local population, material evidence of their activity, which is still partially preserved in present-day Almaty. The authors have drawn on the following types of sources: archival documents and photographs from the fonds of the TsSA RK (some of them are introduced into scientific use for the first time); materials of periodicals of the studied period; statistical data, etc. Analysis of these sources allows to reconstruct the full picture of captivity of a group of European POWs in the Semirechye Oblast of the Turkestan General Governorship. The POWs participated in road laying and road repair in Verny and in the Pishpek uezd. Their living conditions, although comfortless, little differed from those of the local population. When at work, the POWs were provided with hot meals, which were even modified according to their national tastes. Medical services were elementary and fell almost completely to the POWs themselves. Their treatment by locals was ambiguous, but not hostile. There seemed to be no ideological tinting to their interactions with building authorities or locals. In the authors’ opinion, to reconstruct a more complete and detailed picture of interactions and mutual influences of different races, every one which had their own influence on the course of the Kazakhstan history, further research is necessary.

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Matiasek, Katarina. "Rudolf Pöch’s “revenants”. Photography and atavism in Austro-Hungarian prisoner-of-war studies 1915–1918." International Forum on Audio-Visual Research - Jahrbuch des Phonogrammarchivs 7 (2017): 30–45. http://dx.doi.org/10.1553/jpa7s30.

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Brown, Elspeth H. "De Meyer atVogue: Commercializing Queer Affect in First World War-era Fashion Photography." Photography and Culture 2, no. 3 (November 2009): 253–73. http://dx.doi.org/10.2752/175145109x12532077132275.

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Anderson, Fay. "‘Photographing Lindy’: Australian press photography and the Chamberlain case, 1980–2012." Media International Australia 162, no. 1 (September 26, 2016): 7–18. http://dx.doi.org/10.1177/1329878x16665495.

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This article analyses the news photography surrounding a high-profile case of alleged matricide in Australia: the disappearance of 9-month-old Azaria Chamberlain, and the subsequent murder trial and eventual acquittal of her mother, Lindy. While the scholarship on the media’s conduct during Chamberlain’s ordeal has been exhaustive, the press photographers’ role has not been considered. Drawing on oral history interviews with newspaper photographers, this article explores the ways that the photographers’ workplace culture, gender, relationships and practices informed their approach. It argues that their images in isolation did not contribute to the demonisation of Chamberlain; the same photographs were used to project both innocence and guilt depending on the editorial interpretation. The article will provide new historical understanding about the photographic traditions and routines surrounding the Chamberlain case and crime photography more generally.

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de Laat, Sonya. "Lee miller, photography, surrealism and the Second World War: from Vogue to Dachau." Visual Studies 35, no. 1 (August 23, 2019): 83–85. http://dx.doi.org/10.1080/1472586x.2019.1655281.

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Siemens, Elena. "Death in Vienna." Space and Culture 17, no. 4 (September 30, 2014): 336–45. http://dx.doi.org/10.1177/1206331214543865.

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“Death in Vienna” is intended as an introduction to this themed issue on The Dark Spectacle: Landscapes of Devastation in Film and Photography. Drawing on Susan Sontag’s Regarding the Pain of Others, the articles gathered here address the representation of unsettling subject matter (war, ecological catastrophe, destructive urbanization) in a variety of visual media. The collection’s specific focus is on the important role played by space in the depiction of disturbing events. Do images portraying death and destruction generate documents, or do they create works of art? Does their beauty drain “attention from the sobering subject?” “Death in Vienna” addresses these and other related questions with reference to Yevgeny Khaldei’s photography, specifically a shocking image he took in Vienna during the final days of the World War II. Together with Sontag, this article also questions our “right to look” at images of extreme suffering.

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Zavatta, Giulio. "Antonio Morassi, Giulio Carlo Argan, Roberto Longhi e la riscoperta del Caravaggio di casa Balbi a Genova (1939-1952)." Storia della critica d'arte: annuario della S.I.S.C.A. 1 (2020): 351–69. http://dx.doi.org/10.48294/s2020.018.

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Antonio Morassi’s archive and photographic library kept in the Department of Philosophy and Cultural Heritage of Ca’ Foscari University in Venice preserves a series of documents relating to the rediscovery of the Caravaggio of Casa Balbi, which took place during the World War II. Antonio Morassi had a look to the Conversion of Saint Paul in the Genoese palace of Balbi and studied it to publish it. The picture that Morassi sent to the publishers was however showed to Giulio Carlo Argan, who was also writing a monograph about Caravaggio. Argan pledged to acknowledge the discovery to Morassi. But, Argan published report about the painting in an article in 1943. However, Roberto Longhi intervened, denying that it was a Caravaggio pain- ting. Morassi, who discovered this painting, published it on the Emporium magazine only in 1947, after World War II, is therefore not often recognized as the discoverer of this masterpiece.

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Grigsby, Darcy Grimaldo. "Negative-Positive Truths." Representations 113, no. 1 (2011): 16–38. http://dx.doi.org/10.1525/rep.2011.113.1.16.

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Opening with a consideration of the role played by Richard Avedon's photograph of William Casby in Roland Barthes's Camera Lucida, this essay examines Sojourner Truth's precocious and knowing use of the technology of photography. Inscribed with the caption "I Sell the Shadow to Support the Substance," Truth's inexpensive cartes-de-visite functioned as a form of paper currency during the years immediately following the Civil War. As a chemical process, photography transformed precious metals into paper images; as an optical registration of light and shadow, photographic negatives turned white into black and black into white, a reversal noted by Oliver Wendell Holmes in an essay that suggests that racial difference informed understandings of the new medium.

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Arsita, Adya. "JUKSTAPOSISI FOTOGRAFI DI NOVEL GRAFIS ‘THE PHOTOGRAPHER’." spectā: Journal of Photography, Arts, and Media 2, no. 2 (April 24, 2019): 135–44. http://dx.doi.org/10.24821/specta.v2i2.2554.

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AbstrakPenelitian ini hendak mengkaji fungsi-fungsi dokumenter dalam karya fotografi yang divisualisasikan berdampingan dengan gambar-gambar komik dalam sebuah novel grafis berjudul ‘The Photographer: Into War-Torn Afghanistan with Doctors without Borders’. Tujuan dari penelitian ini adalah untuk mencari tahu apakah nilai dokumenter karya foto bisa tetap diapresiasi layaknya foto dokumenter ataukah ada peralihan fungsi ketika dua jenis piktorial disandingkan bersamaan. Metode penelitian yang digunakan untuk menganalisis adalah metode kualitatif yang menganggap bahwa setiap petunjuk adalah penting untuk dianalisis. Kemudian potongan-potongan informasi yang didapat dikaji dengan pendekatan fotografi dokumenter. Diharapkan hasil penelitian ini dapat memberikan kontribusi dalam ranah ilmu kajian fotografi sekaligus kajian komik (comic studies). Dalam ranah fotografi, fotografi dokumenter akan makin ‘berbicara’ dan memaksimalkan fungsinya ketika terbantu dengan teks piktorial lain. Untuk ranah kajian komik, hadirnya citraan fotografi justru akan memperjelas pesan yang hendak disampaikan kepada khalayak melalui gambar-gambarnya. Kata kunci: jukstaposisi, fotografi, novel grafis, dokumenter AbstractJuxtaposition of Photography in a Graphic Novel Titled ‘The Photographer’. This research studied the documentary function in photography works visualized side to side with the comic drawings in a graphic novel titled ‘The Photographer:Into War-Torn Afghanistan with Doctors without Borders’. The aim of this research was to find out whether the documentary photographs are still appreciated as they are, or there are any changes of function when those two pictorials are juxtaposed. The method employed in this research was qualitative method which considered that each clue was important to be analyzed. Then, each of them would be studied using approaches from the view point of documentary photography. The result of this research hopefully could give a contribution to the photography studies and comic studies. Photographs will ‘speak louder’ and will have their greatest value when supported by other kind of pictorials. While in comic studies, the photographs will be able to send messages better through their drawings when juxtaposed with photographs. Keywords: juxtaposition, photography, graphic novel, documentary

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Amyuni, Mona Takieddine. "Literature and War, Beirut 1993-1995: Three Case Studies." World Literature Today 73, no. 1 (1999): 37. http://dx.doi.org/10.2307/40154473.

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Blasing, Mutlu Konuk. "Traces of War: Poetry, Photography, and the Crisis of the Union. Timothy Sweet." Modern Philology 90, no. 4 (May 1993): 560–62. http://dx.doi.org/10.1086/392112.

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Nicholson, Paul T., and Steve Mills. "Soldier tourism in First World War Egypt and Palestine: the evidence of photography." Journal of Tourism History 9, no. 2-3 (September 2, 2017): 205–22. http://dx.doi.org/10.1080/1755182x.2017.1410582.

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Gorrara, Claire. "Fashion and the femmes tondues: Lee Miller, Vogue and representing Liberation France." French Cultural Studies 29, no. 4 (October 28, 2018): 330–44. http://dx.doi.org/10.1177/0957155818791889.

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This article will examine representations of the Liberation of France in the war reports of Lee Miller, an accredited photographer and correspondent for American and British Vogue during the Second World War. Miller’s frontline reports framed Liberation France in idealised images of feminine beauty and elegance, making use of fashion as a primary conduit for understanding the war and occupation for readers on the home front. As this article will argue, examining Miller’s choices and perspective as a female photographer sheds new light on the intersection of fashion, war photography and the female body. In Miller’s work, fashion becomes a site for imagining liberation in ways that foreground the gendering of war experience and the legacies of conflict for women. By charting Miller’s representations of French women at the Liberation, and above all the chastised figure of the femme tondue, this article will analyse how French women function as carriers of multiple messages about war, liberation and reconstruction in Miller’s work. Unlike the sensationalist images of the femmes tondues published in the British picture press and newspapers in the summer of 1944, Miller’s war reports in Vogue construct an empathic relationship with such underprivileged female subjects. Miller’s work opens a space, therefore, for speculation on the role of fashion in shaping how the Second World War was understood by a first generation of female memory producers and consumers.

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Pribilsky, Jason. "Developing selves: photography, Cold War science and ‘backwards’ people in the Peruvian Andes, 1951–1966." Visual Studies 30, no. 2 (May 4, 2015): 131–50. http://dx.doi.org/10.1080/1472586x.2015.1024959.

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Brinkman, Inge. "Language, Names, and War: The Case of Angola." African Studies Review 47, no. 3 (December 2004): 143–63. http://dx.doi.org/10.1017/s0002020600030481.

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Abstract:This article shows the links between naming practices and war. The focus is on MPLA war names used during the Angolan struggle for independence. These names are framed in the wider context of the relations between language and war. In many African contexts, names are not singular and fixed, but may change with every personal transformation. Entering the life of a soldier constitutes just such a drastic change. The article shows that through war names, a kaleidoscope of issues may be addressed, including the relations between language, rank, and power, personal history and popular culture, spirit possession and resurrection, self-description and labeling, writing and legitimacy, and secrecy and identity.

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Bongio, Marco, Ali Nadir Arslan, Cemal Melih Tanis, and Carlo De Michele. "Snow depth time series retrieval by time-lapse photography: Finnish and Italian case studies." Cryosphere 15, no. 1 (January 27, 2021): 369–87. http://dx.doi.org/10.5194/tc-15-369-2021.

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Abstract. The capability of time-lapse photography to retrieve snow depth time series was tested. Historically, snow depth has been measured manually by rulers, with a temporal resolution of once per day, and it is a time-consuming activity. In the last few decades, ultrasonic and/or optical sensors have been developed to obtain automatic and regular measurements with higher temporal resolution and accuracy. The Finnish Meteorological Institute Image Processing Toolbox (FMIPROT) has been used to retrieve the snow depth time series from camera images of a snow stake on the ground by implementing an algorithm based on the brightness difference and contour detection. Three case studies have been illustrated to highlight potentialities and pitfalls of time-lapse photography in retrieving the snow depth time series: Sodankylä peatland, a boreal forested site in Finland, and Gressoney-La-Trinité Dejola and Careser Dam, two alpine sites in Italy. This study presents new possibilities and advantages in the retrieval of snow depth in general and snow depth time series specifically, which can be summarized as follows: (1) high temporal resolution – hourly or sub-hourly time series, depending on the camera's scan rate; (2) high accuracy levels – comparable to the most common method (manual measurements); (3) reliability and visual identification of errors or misclassifications; (4) low-cost solution; and (5) remote sensing technique – can be easily extended in remote and dangerous areas. The proper geometrical configuration between camera and stake, highlighting the main characteristics which each single component must have, has been proposed. Root mean square errors (RMSEs) and Nash–Sutcliffe efficiencies (NSEs) were calculated for all three case studies comparing with estimates from both the FMIPROT and visual inspection of images directly. The NSE values were 0.917, 0.963 and 0.916, while RMSEs were 0.039, 0.052 and 0.108 m for Sodankylä, Gressoney and Careser, respectively. In terms of accuracy, the Sodankylä case study gave better results. The worst performances occurred at Careser Dam located at 2600 m a.s.l., where extreme weather conditions and a low temporal resolution of the camera occur, strongly affecting the clarity of the images.

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Redding, Robert, Anna Beier-Pedrazzi, Gina Salvia, Stefanie Mitchell, and James George. "War in the Falklands: Case Studies in British Special Operations." Special Operations Journal 6, no. 1 (January 2, 2020): 18–34. http://dx.doi.org/10.1080/23296151.2020.1731267.

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Frisancho, Susana, and Félix Reátegui. "Moral education and post‐war societies: the Peruvian case." Journal of Moral Education 38, no. 4 (November 13, 2009): 421–43. http://dx.doi.org/10.1080/03057240903321907.

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Kahn, Leora. "My Body Is a War Zone: Exhibitions and Testimonies as a Tool for Change." Violence Against Women 25, no. 13 (September 10, 2019): 1578–93. http://dx.doi.org/10.1177/1077801219869545.

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This article has evolved from an exhibition produced with PROOF: Media for Social Justice entitled “My Body Is a War Zone,” which was part of a larger project (“Legacy of Rape”) consisting of stories from women in four postconflict regions. Drawing on interviews conducted with women in Santa Marta, Colombia, in May 2012 and January 2017, I explore the use of testimony, photography, and exhibition as a means of empowering survivors to become activists. Using the Colombian example, I argue that such exhibitions can transform national and public dialogue by engaging audiences on a personal and emotional level.

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