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Artículos de revistas sobre el tema "Documentary photography"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 25 de julio de 2025

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1

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

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In the conversation, two of the most prominent New Zealand authors in the field of photography talk about the body of work of Anne Noble’s Antarctica photography projects. Had we lived is a re-photographic project reflecting on the tragedies of heroic age exploration (commemorating the centenary of the deaths of Robert Falcon Scott and his men on their return from the South Pole – Terra Nova Expedition or British Antarctic Expedition to the South Pole, 1912) and on the memory of Erebus tragedy of 1975, when a tourist plane flying over Antarctica crashed into Mt Erebus, killing all 257 people o

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2

Padmanabhan, Lakshmi. "A Feminist Still." Camera Obscura: Feminism, Culture, and Media Studies 35, no. 3 (2020): iv—29. http://dx.doi.org/10.1215/02705346-8631535.

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What can photographic form teach us about feminist historiography? Through close readings of photographs by visual artist and documentary photographer Sheba Chhachhi, who documented the struggle for women’s rights in India from the 1980s onward, this article outlines the political stakes of documentary photography’s formal conventions. First, it analyzes candid snapshots of recent protests for women’s rights in India, focusing on an iconic photograph by Chhachhi of Satyarani Chadha, a community organizer and women’s rights activist, at a rally in New Delhi in 1980. It attends to the way in whi

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3

Dondero, Maria Giulia. "Photography as a Witness of Theatre." Recherches sémiotiques 28, no. 1-2 (2010): 43–57. http://dx.doi.org/10.7202/044587ar.

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My paper investigates the meeting of theatre and photography in ‘theatre photography’. Recognizing that both art forms can determine theoretical and philosophical views on representation and self-representation, I aim to compare their visual strategies and the way they construct point of view. In the process several questions are raised: do qualities of photographs belong to objects photographed or to photographs themselves? How important is the object that ‘triggers’ the view? Should the theatre photographer place his camera anywhere? What of framing? In the second section I offer an analysis

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4

Prasetyo, Martinus Eko, and Imamul Masyhudi. "Visual Aesthetics Semiotics Roland Barthes Photography Journalistic Works Phenomenal World." IMAGIONARY 3, no. 1 (2024): 27–39. http://dx.doi.org/10.51353/jim.v3i1.961.

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Documentary photography as a medium of conveying information and documentation can document reality and tell important stories with integrity and honesty. Where journalistic photography will continue to be a powerful tool in reporting the truth and influencing social change, giving us a window into a wider and more diverse world. This research visually analyzes the phenomenal works of world photography from the aesthetic side with Roland Barthes' semiotic approach. It tells that aesthetically the photograph is an embodiment of visual beauty immortalized by the photographer not only by chance i

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5

Balčus, Zane. "OF STILL AND MOVING IMAGES: STYLISTICS OF HERCS FRANKS’ EARLY DOCUMENTARIES." Culture Crossroads 23 (January 10, 2024): 216–25. http://dx.doi.org/10.55877/cc.vol23.377.

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Latvian documentary filmmaker Hercs Franks (1926–2013) directed his first films in 1965, the two short documentaries were produced at the Latvian television’s production unit Telefilma-Rīga: “Salty Bread” (Sāļā maize) and “At Noon” (Pusdienā). Both films reflect an intricate practice and aesthetic element of the director – the use of still photography, which for him is both a research tool and a stylistic device present throughout his career. “Salty Bread” includes photographs as a stylistic element allowing the viewer to prolong observation of particular images, whereas in “At Noon” still pho

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6

Colner, Miha, and Ivan Petrović. "Ivan Petrović, Photographer, Archivist and Artist: Interview with Ivan Petrović." Cabinet, Vol. 2, no. 2 (2017): 4–9. http://dx.doi.org/10.47659/m3.004.int.

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Ivan Petrović (1973) has been working in the fields of photography and art for twenty years as a researcher, creator and collector. Since 1997, he has been creating and publishing photographic projects that reflect the spirit of space and time in which they are created, while in his works he uses both documentary approaches as well as research principles. In 2011, together with photographer Mihail Vasiljević, he founded a para-institution, the Centre for Photography (CEF). Despite lacking its own premises, infrastructure or funds for performing its activities, the institution deals with the se

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7

Langendorf, Richard. "Documentary photography." Computers, Environment and Urban Systems 15, no. 1-2 (1991): 74. http://dx.doi.org/10.1016/0198-9715(91)90058-l.

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8

Нецић, Неда. "ДОКУМЕНТАРНОСТ И ФОТОЖУРНАЛИЗАМ У ПРОМЕНИ ГУТЕНБЕРГОВОГ ДРУШТВА". БАЛКАНСКЕ СИНТЕЗЕ 9, № 1 (2022): 31–44. http://dx.doi.org/10.46630/bs.1.2022.03.

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The appearance of photography in 19. century had stopped the fluidity of time and enabled the future generations to have an insight into history. Photographs are a visual testimony of the past and in the period of their occurrence people believed that photographs could provide a true and objective account of reality. Documented war conflicts, people, places and events can enable us an insight into the past. Implementation of photographs into the press gave rise to photojournalism. The press had abundantly used the photography as an illustration to the texts, and the people craved for informati

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9

Arsita, Adya. "JUKSTAPOSISI FOTOGRAFI DI NOVEL GRAFIS ‘THE PHOTOGRAPHER’." spectā: Journal of Photography, Arts, and Media 2, no. 2 (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 pent

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10

Pevec, Iza, and Lukas Birk. "Keeping a Story Alive: Interview with Lukas Birk." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 4–13. http://dx.doi.org/10.47659/m5.004.int.

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The work of an Austrian artist Lukas Birk can be connected to some dilemmas of documentary photography. If the critique of the classical documentary photography stresses the responsibility towards the photographed subject and the problem of the exoticization for the western view, Birk’s work is often developed, displayed and distributed in the place where his projects are created. Therefore, the first audience of his projects are locals and are, in that way, maybe more closely connected to the project itself. He co-founded the Austro Sino Arts Program in China and founded a residency program S

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11

Kuo, Li-Hsin. "Politicising Documentary Photography." Javnost - The Public 14, no. 3 (2007): 49–64. http://dx.doi.org/10.1080/13183222.2007.11008946.

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12

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,

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13

Colner, Miha. "Miroslav Zdovc: Contextualising the Archive." Život umjetnosti, no. 111 (July 2023): 132–45. http://dx.doi.org/10.31664/zu.2022.111.10.

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In this paper a case study of constructing a photographic archive in a museum context, and the ways of contextualising seemingly marginal and insignificant photographic material, is being showcased and analysed. The focal point of the paper is the personal photographic archive of Miroslav Zdovc (1929–2009), a prominent Slovenian professional photographer as well as an artist using photography who, however, did not receive a deserved place in local and regional history of photography and art. Therefore, his extensive body of work that has nearly disappeared from the public eye is now in the pro

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14

Rodriguez, Richard T. "On the Subject of Gang Photography." Aztlán: A Journal of Chicano Studies 25, no. 1 (2000): 109–48. http://dx.doi.org/10.1525/azt.2000.25.1.109.

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This paper examines the figure of the Chicano gangster in “gang photography, ” which represents Chicanos affiliated with street gangs in the greater Los Angeles area. Gang photography encompasses documentary photography, self-produced gang photography, as well as police photography. Moving beyond the aesthetic and personal desires by which the practice of photography is typically framed, I insist that we must come to terms with the sociopolitical forces underscoring all representations of Chicano gangs. My title refers to overlapping meanings of the subject. The subject or topic of gang photog

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15

Meron, Yaron. "Photographic (In)authenticity." Video Journal of Education and Pedagogy 4, no. 2 (2019): 60–81. http://dx.doi.org/10.1163/23644583-00401018.

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Debates around authenticity within photographic discourse are persistent. Some have revolved around documentary photography, while other discussions focus on the ethical validity of digitally edited news photographs and indeed the photographic medium itself. This article proposes that discussions around ‘authenticity’ should be focused instead towards contextualising photography more appropriately within the creative practice of ‘making strange’. It acknowledges existing debates around photography and authenticity, before locating the discussion within creative practice. It then moves to a dis

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16

Oreshina, Polina. "Documental photos." Век информации (сетевое издание) 5, no. 3 (2021): 25–62. http://dx.doi.org/10.33941/age-info.com53(16)2.

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This article is devoted to identifying and analyzing the mechanisms of traditional visual documentation of protests and the formation of images and symbols in Russian protest photography, as well as its functioning in the modern media space. In this article, we will dwell in detail both on photographs and series of specific documentary artists, and on the functioning of photographs directly in the media space, since political photography is inseparable from the fact of its use in the media. Nevertheless, we will explore visuality to a greater extent and will focus on visual images and symbols

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17

Mehta, Rijuta. "Manifest Documentary." JCMS: Journal of Cinema and Media Studies 63, no. 1 (2023): 53–79. http://dx.doi.org/10.1353/cj.2023.a910938.

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abstract: This article argues that the symbolic and material power of Manifest Destiny inhered in the norms of documentary photography at Life magazine, particularly in preexisting shooting scripts. An analysis of visual re-takes and narrative fixity in the 1947 photo-essay on the Indian Partition, "The Great Migration," reveals how tropes of US settler colonialism were projected onto distressed refugees in South Asia. The norm of having photographed subjects enact script-image correlation was a revenue-minded colonial action; it absorbed a range of racial differences—South Asian, Black Americ

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18

Duarte do Pateo, Rogerio. "Imagem e arqueologia na era da pós-fotografia." Vestígios - Revista Latino-Americana de Arqueologia Histórica 18, no. 2 (2024): 131–50. https://doi.org/10.31239/vtg.v18i2.49580.

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“No one can leave the cave”. With this phrase, Joan Fontcuberta targets the heart of the ontology of the photographic image and exposes the fictional nature of “documentary” representations of reality. The consolidation of photography as a document, a consequence of techno-scientific culture associated in the 19th century with positivism and colonial expansion, concealed its Janus Bifrons nature for nearly a century. More than “representations”, photographs are taken as substitutes for the things photographed, and this status, associated with the idea of truth, makes them the ideal visual expr

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19

Pfautsch, Anne. "Documentary Photography from the German Democratic Republic as a Substitute Public." Humanities 7, no. 3 (2018): 88. http://dx.doi.org/10.3390/h7030088.

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This paper discusses artistic documentary photography from the German Democratic Republic (GDR) from the mid-1970s until the fall of the Berlin Wall, and suggests that it functioned as a substitute public–Ersatzöffentlichkeit–in society. This concept of a substitute public sphere sometimes termed a counter-public sphere, relates to GDR literature that, in retrospect, has been allocated this role. On the whole, in critical discourse certain texts have been recognised as being distinct from GDR propaganda which sought to deliver alternative readings in their coded texts. I propose that photograp

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20

Dall'olio, Rafael Luis dos Santos. "O desenvolvimento da fotografia como um instrumento científico no século XIX." Khronos, no. 18 (March 7, 2025): 1–28. https://doi.org/10.11606/issn.2447-2158.i18p1-28.

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Photography has been extensively used by scholars from various fields as a relevant documentary source for knowledge production. However, few academic studies have addressed a particular type of photography: scientific photography. Sometimes approached in its technical aspects, sometimes in its relation to art, we understand that an analysis of this source as a historical document capable of providing pertinent information to the historian's craft is necessary and essential. Through a specific field of study, Astronomy, we seek to understand how photography was employed for the production of s

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21

CURRELL, SUE. "You Haven't Seen Their Faces: Eugenic National Housekeeping and Documentary Photography in 1930s America." Journal of American Studies 51, no. 2 (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 produ

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22

Liyu, Sya. "The Forbidden City in view - The photographic activity of foreign photographers of the Late Qing Dynasty in China." Человек и культура, no. 2 (February 2023): 48–62. http://dx.doi.org/10.25136/2409-8744.2023.2.39977.

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The article examines the photographic activity of foreign photographers during the late Qing Dynasty in China and analyzes their work in the context of historical material. The author explores the metaphor of the camera as it entered China and how the photographic activity of foreign photographers represented the colonial conquest of the Forbidden City.Since the Second Opium War in 1860, photography has served as a documentary tool, following the sounds of colonial invaders' guns as they sought to capture and control the Chinese capital. Forty years later, in 1900, during the Boxer Rebellion,

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23

Bell, Amy. "Crime Scene Photography in England, 1895–1960." Journal of British Studies 57, no. 1 (2018): 53–78. http://dx.doi.org/10.1017/jbr.2017.182.

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AbstractThis article discusses the development of techniques and practices of murder crime scene photography through four pairs of photographs taken in England between 1904 and 1958 and examines their “forensic aesthetic”: the visual combination of objective clues and of subjective aesthetic resonances. Crime scene photographs had legal status as evidence that had to be substantiated by a witness, and their purpose, as expressed in forensic textbooks and policing articles, was to provide a direct transfer of facts to the courtroom; yet their inferential visual nature made them allusive and evo

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24

Ciputra, Alfian Rizal Andre, Pitri Ermawati, and Syaifudin Syaifudin. "Pecinan Tambak Bayan Surabaya Dalam Fotografi Dokumenter." spectā: Journal of Photography, Arts, and Media 3, no. 1 (2019): 50–60. http://dx.doi.org/10.24821/specta.v3i1.2837.

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Documentary Photography of Chinatown in Tambak Bayan Surabaya. Chinese etchnic of Surabaya has been living in the settlement, called Tambak Bayan Surabaya, around Kalimas River. Most of the families living there are the third and fourth generation of the Chinese ethnic whom migrated to Surabaya several years ago. Those families occupied the buildings formerly were horse stables during colonial period. Their economic condition was classified as middle to lower class. Hence, they did not have other choices but those settlements. Documentary photography is a way to describe their everyday conditi

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Olszański, Grzegorz. "Poetyki negatywów. Tadeusz Różewicz wobec fotografii." Wielogłos, no. 2 (52) (2022): 69–88. http://dx.doi.org/10.4467/2084395xwi.22.005.15878.

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Poetics of the Negatives. Tadeusz Różewicz and the Photography The article Poetics of the Negatives poses a question about the position of photography in creation of the writers’images. Exemplified in the most substantial part by the pictures of Tadeusz Różewicz, taken by a prominent artist photographer Adam Hawałej of Wrocław, published in his two books (Różewicz, Śmietnik [Garbage]), the article aims to reconstruct Różewicz’s attitudes towards the photographic medium. The author of Niepokój [Faces of Anxiety] initially appears as an artist protecting his privacy, at the same time negating th

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26

Biarincová, Patricia. "Fotografia dokumentalna w edukacji artystycznej." Studia Scientifica Facultatis Paedagogicae Universitas Catholica Ružomberok 22, no. 3 (2023): 112–17. http://dx.doi.org/10.54937/ssf.2023.22.3.112-117.

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Documentary photographs of Karel Plicka, Martin Martinček are interesting for us not only as valuable historical documents, but also for their great artistic value. In this paper we will present practical examples of how documentary photography can be used in contemporary visual art education.

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Chaudhary, Zahid R. "Desert Blooms." October 168 (May 2019): 92–109. http://dx.doi.org/10.1162/octo_a_00351.

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This essay considers the place of abstraction in documentary photography, a genre whose primary aesthetic-political commitment is usually assumed to be on the side of figuration, denotation, and facticity. Taking up photographer Fazal Sheikh's photographic series Desert Bloom, which records natural and human-made disturbances in the Naqab/Negev desert, the essay considers artistic abstraction in relation to other forms of economic, juridical, and political abstraction critical to settler colonialism in particular and capitalism more generally. How might abstraction be the very condition of pol

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Baid, Anisha. "Wild Life." Membrana Journal of Photography, Vol. 3, no. 1 (2018): 20–25. http://dx.doi.org/10.47659/m4.020.art.

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Wild Life is a series of augmented photographs of animals and insects placed in vacant, overgrown spaces in suburban Bangalore. Taken through mobile AR apps like Holo and Augment, these photographs (or screenshots) situate virtual bodies within the frame of the mobile camera – creating something in between a document and fiction. The work investigates these processes of augmentation, which enable 3D representations of things in the real/physical world to be projected back into physical space that are then photographed. The larger phenomenon of AR photography also complicates traditional notion

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Sandbye, Mette. "Fotografiet som dokument." Periskop – Forum for kunsthistorisk debat, no. 31 (June 13, 2024): 32–47. http://dx.doi.org/10.7146/periskop.v2024i31.146565.

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Departing from John Roberts’ notion of “the social ontology of photography”, I discuss how recent research and theories about photography in an expanded field have interacted with contemporary art’s use of photography in recent years, especially in an intersection between documentary and art, and especially among artists working with more or less political topics such as migration and the postcolonial. It is photography beyond “the politics of representation” in the sense that it is not about problematizing photography’s relationship to reality, but rather about actively using the medium as a

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Brujić, Marija. "Kratak uvod u istoriju antropologije fotografije." Issues in Ethnology and Anthropology 12, no. 1 (2017): 129. http://dx.doi.org/10.21301/eap.v12i1.6.

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The paper represents a short historical overview of key anthropological figures in Anglo-American and French anthropology of photography such are Boas, Malinowski, Evans-Pritchard, Mead and Bateson, Levi-Strauss and (John) Collier till the current visual anthropologists as Banks, Pink, Ruby, Pinney, and Edwards, among many. Furthermore, the major theoretical ideas such are: objectivity and subjectivity of photography, its material, and intangible aspects, its representative potential, ethical issues and reflexive approach are discussed. At the end, several anthropological projects which includ

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Mitropoulos, Maria. "Demonic Curiosity and Documentary Photography." Alethia 5, no. 1 (2002): 65–69. http://dx.doi.org/10.1558/aleth.v5i1.65.

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Biarincová, Patricia. "Documentary photography in art education." Prace Naukowe Akademii im. Jana Długosza w Częstochowie. Edukacja Plastyczna. Fotografia 10 (2015): 87–98. http://dx.doi.org/10.16926/ep.2015.10.06.

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Brown, Elspeth H. "Welfare Capitalism and Documentary Photography:." History of Photography 32, no. 2 (2008): 137–51. http://dx.doi.org/10.1080/03087290801895738.

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Hunt, William Blaine. "Documentary photography and applied anthropology." Visual Anthropology 10, no. 1 (1997): 67–73. http://dx.doi.org/10.1080/08949468.1997.9966720.

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

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Zhou, Dengyan. "REFRAMING DOCUMENTARY PHOTOGRAPHY IN CHINA." photographies 11, no. 2-3 (2018): 339–52. http://dx.doi.org/10.1080/17540763.2018.1445012.

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Diansyah, Muhamad Nur. "Maetro Tenun Songket Bungo Tanjung Dalam Fotografi Dokumenter." Matalensa: Journal of Photography and Media 2, no. 2 (2023): 190. https://doi.org/10.26887/matalensa.v2i2.2962.

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The scription of this work is entitld “Songket Weaving MaestroBungo Tanjung in documentery photography”. The purpose of this thesis is to create documentery photography of songket woven fabric craftsmen of Bungo Tanjung. The data collection method used is:observation, study of literature, and interview. From the results of the study it is known that the number of songket woven fabric craftsmen has been much reduced.songket cloth is currently less attractive to the younger generation in Muara Bungo as a successor, this is due to the declining public interest in traditional songket woven fabrics

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Sailor, Rachel. "Pictorialism in the American West." UW National Parks Service Research Station Annual Reports 36 (January 1, 2013): 150–52. http://dx.doi.org/10.13001/uwnpsrc.2013.4009.

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Early twentieth century (1900-1945) photography of northwestern Wyoming (including the Teton and Yellowstone areas) fits into a paradigm of regional photographic production that either conforms to the documentary or pictorial aesthetics most common in the era. Pictorial photography, especially, links the region to larger trends in the nation and can be analyzed to uncover previously unexamined assumptions about the value of photographic aesthetics and regional production within the milieu of fine art photography in the United States prior to WWII.

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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 (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 s

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Smirnova, E. E. "The Elements of Fantasy in Martine Franck’s Photography Projects of the 1970s-1990s." Art & Culture Studies, no. 2 (June 2024): 164–85. http://dx.doi.org/10.51678/2226-0072-2024-2-164-185.

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The purpose of this study is to discover the elements of fantasy in Martine Franck’s documentary photographs, as well as to analyse the completeness, intentionality, and persuasiveness of the created images of illusory existence. The object of the study is the projects of Martine Franck created in the 1970s‐1990s. What contributed to Franck’s creative method was education in art history, the artistic phenomena of the first half of the 20th century, and collaboration with her husband, a prominent figure in documentary photography, co‐founder and ideologist of Magnum Photos, Henri Cartier‐Bresso

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Haran, Barnaby. "‘We Cover New York’: Protest, Neighborhood, and Street Photography in the (Workers Film and) Photo League." Arts 8, no. 2 (2019): 61. http://dx.doi.org/10.3390/arts8020061.

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This article considers photographs of New York by two American radical groups, the revolutionary Workers Film and Photo League (WFPL) (1931–1936) and the ensuing Photo League (PL) (1936–1951), a less explicitly political concern, in relation to the adjacent historiographical contexts of street photography and documentary. I contest a historiographical tendency to invoke street photography as a recuperative model from the political basis of the groups, because such accounts tend to reduce WFPL’s work to ideologically motivated propaganda and obscure continuities between the two leagues. Using e

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Fox, Paul. "An unprecedented wartime practice: Kodaking the Egyptian Sudan." Media, War & Conflict 11, no. 3 (2017): 309–35. http://dx.doi.org/10.1177/1750635217710676.

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This article examines Kodak photographs made by participant soldiers and photographer–correspondents working in the field for the illustrated press during the concluding phase of the 1883–1898 campaign to defeat an Islamist insurgency in the Egyptian Sudan, whose leaders sought to create a regional caliphate. It explores how the presence of early generation portable cameras impacted on image making practices on British operations, and how aspects of campaign experience were subsequently represented in Kodak-derived photograph albums. With reference to graphic art and commercial photographic pr

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Wang, Zixuan. "Intermedial Connections: Literature and Photography (The Phenomenon of Photography in the Novel “In Memory of Memory. Romance” by Maria M. Stepanova)." World of the Russian Word, no. 4 (2023): 77–86. http://dx.doi.org/10.21638/spbu30.2023.409.

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The author argues that visual media, including photography, converted into textual form, are increasingly intertwined with non-fiction. Among the examples is the philosophical and documentary novel by Maria M. Stepanova “In Memory of Memory. Romance” (2017). Thе article is devoted to the analysis of the phenomenon of photography in the novel “In Memory of Memory”, in which photographic images receive a verbal description (i. e. the textualization of photography). This type of text is defined both as ekphrasis (Nina V. Braginskaya, James Heffernan, Alina Banea, etc.) and meta-photographic text

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Johnson, James. "‘The Arithmetic of Compassion’: Rethinking the Politics of Photography." British Journal of Political Science 41, no. 3 (2011): 621–43. http://dx.doi.org/10.1017/s0007123410000487.

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Compassion, theorists from Arendt to Nussbaum suggest, carries an ineluctable pressure to identify with individual suffering. The very idea of a politics of compassion verges on incoherence. Politics typically demands attention to the aggregate and it is just there that compassion falters. This is a problem for critics addressing the politics of photography, who typically presume that the point of photographs must be to elicit compassion among viewers. But a proper understanding of compassion makes this presumption highly problematic. The role of compassion in exemplary writings on the politic

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Kobylińska, Weronika. "Carved by Light of Cities with a Chisel. Kraków Retable of the Dormition of the Blessed Virgin Mary Altar through Stanisław Kolowca 's Lens." Artium Quaestiones, no. 33 (December 30, 2022): 87–106. http://dx.doi.org/10.14746/aq.2022.33.4.

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On two occasions (around 1932–1933 and after the war, between 1946 and 1950), Stanisław Kolowca (1904–1968) undertook the task of creating the photographic documentation of the reredos of the altar of the Dormition of the Blessed Virgin Mary in Kraków (Poland). The stature of Wit Stwosz’s work – widely recognized as one of the key late Gothic masterpieces in Europe – could be the only factor legitimizing the status of Kolowca’s photographs. Nevertheless, the photographs seem to deserve a thorough analysis for other reasons as well. It should be underlined that in his project Kolowca did not fo

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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,

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Yurchuk, Olena. "PHOTOGRAPHY AS A FORM OF STATEMENT AND MEANS OF FIXING PRESENCE IN A. PEREZ REVERTE’S BATALIST." CONTEMPORARY LITERARY STUDIES, no. 19 (March 15, 2023): 63–68. http://dx.doi.org/10.32589/2411-3883.19.2022.274082.

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Modern literary criticism pays much attention to the theme of photography in fiction. R. Barth and his followers emphasize the active interpenetration of the two arts, which results in a play with imprint, blur, and image. Photography turns out to be a point of reference for reconstructing the past. The photographic image claims to be an archival document necessary for reconstructing the past, and the photograph claims to be completely objective, though limited by a subjective position. In the plot of A Perez Revert’s novel «The Battler» the camera, as well as photography itself, occupies a sp

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Jordan, Shirley. "Not Yet Fallen: Memory, Trace and Time in Stéphane Couturier's City Photography." Nottingham French Studies 53, no. 2 (2014): 169–85. http://dx.doi.org/10.3366/nfs.2014.0084.

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Harnessing concepts related to memory, trace, time and the archive, this article examines in detail the highly distinctive city photography of French photographer Stéphane Couturier. It focuses on the ways in which two of Couturier's major series, Archéologie urbaine (1994–2010) and Melting Point (2005–13), investigate the fabric of urban environments in Europe and beyond, concentrating in the first case on heritage layers and pockets of demolition or reconstruction, and in the second on the pervasive modular architecture of urban and peri-urban blocks. The article analyses the tension in Cout

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Kim, Ji-Hoon. "Animating the Photographic Trace, Intersecting Phantoms with Phantasms: Contemporary Media Arts, Digital Moving Pictures, and the Documentary’s ‘Expanded Field’." Animation 6, no. 3 (2011): 371–86. http://dx.doi.org/10.1177/1746847711417780.

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This article investigates the ways in which contemporary media artworks across various platforms provide a fresh look at the photographic inscription of reality by animating the still photograph with digitally produced movement. These artworks are based on what the author calls ‘digital moving pictures’, hybrid images in which photographic stillness and cinematic movement are interrelated in a single picture frame by the mediation of digital imaging systems. Examining the works of Jim Campbell, Ken Jacobs, David Claerbout, Julie Meltzer and David Thorne, the author argues that the pictures’ bl

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Gordon Guerrero, Josué Baruj. "Naito Masatoshi y Lieko Shiga: constantes y evoluciones en prácticas fotográficas ligadas al folklor de Tohoku." HArtes 4, no. 8 (2023): 50–70. https://doi.org/10.61820/ha.2954470x.v4n8.1199.

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This article explores the similarities and differences between the photographic production of Naito Masatoshi (from the mid-1960s to 2012) and the contemporary work of Shiga Lieko. Said exploration will reveal the importance that the Tohoku region has for the projects of both photographers, as well as the exploration of the relationship between the visible and the invisible in photography. In parallel, the main thematic concerns and visual strategies of his photographic productions will be detailed, as well as the impact they have on the history of photography in Japan and the possibilities th

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