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Siga este link para ver outros tipos de publicações sobre o tema: Photographic representation.

Livros sobre o tema "Photographic representation"

Autor: Grafiati

Publicado: 4 de junho de 2021

Última modificação: 6 de fevereiro de 2022

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1

Sroka, Iris E. Young children's photographic practice: Representation and world knowledge. Ann Arbor, Mich: UMI Dissertation Services, 2002.

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2

Murkin, Susan. Breathing out: A critical commentary to investigate the photographic representation of the fat body. Leicester: De Montfort University, 1998.

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3

The ones that are wanted: Communication and the politics of representation in a photographic exhibition. Berkeley: University of California Press, 2002.

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4

Dewdney, Andrew. Racism, representation, and photography. Sydney, Australia: Inner City Education Centre, 1994.

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5

Knape, Gunilla, Tyrone Martinsson, Louise Wolthers e Hans Hedberg. Auto: Self-representation and digital photography. Editado por Erna and Victor Hasselblad Foundation e Göteborgs universitet. Högskolan för fotografi. Stockholm: Art and Theory Publishing, 2014.

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6

Brenner, Frédéric. Jews, America: A representation. New York: Harry N. Abrams, 1996.

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7

The burden of representation: Essays on photographies and histories. Minneapolis, Minn: University of Minnesota Press, 1993.

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8

The burden of representation: Essays on photographies and histories. Basingstoke: Macmillan, 1998.

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9

The burden of representation: Essays on photographies and histories. Amherst: University of Massachusetts Press, 1988.

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10

Tagg, John. The burden of representation: Essays on photographies and histories. Minneapolis, Minn: University of Minnesota Press, 1993.

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11

Wheeler, Mark R. G. Photography and flux: Motion in still photography - an examination of the mechanisms and effectiveness of the representation of movement in still photographs set in its historical context. [Derby]: Derbyshire College of Higher Education, 1985.

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12

Photographing Papua: Representation, colonial encounters and imaging in the public domain. Newcastle: Cambridge Scholars Pub., 2007.

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13

Hardy, Julia. Death's representation in photography from the 1950s to the present day. London: LCP, 2003.

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14

Hellberg, Katharina Von. In what way is family photography a practice of self representation?. London: LCP, 2001.

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15

London College of Printing and Distributive Trades. BA Photography dissertation 1991: History and representation of the Indians in Colombia. London: LCPDT, 1991.

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16

Navajoand photography: A critical history of the representation of an American people. Albuquerque: University of New Mexico Press, 1996.

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17

The politics of representation: Writing practices in biography, photography, and policy analysis. Madison, Wis: University of Wisconsin Press, 1988.

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18

Elkins, James. Six stories from the end of representation: Images in painting, photography, astronomy, microscopy, particle physics, and quantum mechanics, 1980-2000. Stanford, Calif: Stanford University Press, 2008.

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19

Faris, James C. Navajo and photography: A critical history of the representation of an American people. Albuquerque: University of New Mexico Press, 1996.

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20

Johnsen, Trine. How current trends in photography is questionuing ideolized representations of the family. London: LCP, 2000.

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21

Johnsen, Trine. How current trends in photography is questioning ideolized representations of the family. London: LCP, 2000.

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22

Auschwitz and afterimages: Abjection, witnessing, and representation. London: I. B. Tauris, 2011.

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23

Walt Whitman's native representations. Cambridge [England]: Cambridge University Press, 1994.

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24

Printing, London College of. The politics of representation in press photography: Extended essay for Diploma in photojournalism 1985. London: LCP, 1985.

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25

Printing, London College of. BA Photography thesis 1990: History, representation and identification: in Pontecorvo's film La Battagliadi Algeria. London: LCP, 1990.

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26

Johannesburg, University of, ed. Representation and spatial practices in urban South Africa. [Johannesburg]: Research Centre, Visual Identities in Art and Design, Faculty of Art Design and Architecture, University of Johannesburg, 2008.

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27

Booker T. Washington and the art of self-representation. New York: Peter Lang, 2008.

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28

Colonial photography and exhibitions: Representations of the "native" and the making of European identities. London: Leicester University Press, 1999.

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29

Printing, London College of. BA Photography thesis 1988: An investigation into visual representations of men in women's magazines. London: LCP, 1988.

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30

Boys, Jos. Making the social visible: Integrating street, documentary and self-representational modes of photography. Leicester: De Montfort University, 2003.

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31

Printing, London College of. BA Photography thesis 1988: The mass media and the representation of one and the same event. London: LCP, 1988.

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32

The new woman international: Representations in photography and film from the 1870s through the 1960s. Ann Arbor: University of Michigan Press and the University of Michigan Library, 2011.

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33

Vincent, Lavoie, Dorenbaum David, Choinière France 1967- e Dazibao (Art gallery), eds. Shock waves: Photography rocks representation. Montréal: Dazibao, 2003.

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34

Kratz, Corinne A. Ones That Are Wanted: Communication and the Politics of Representation in a Photographic Exhibition. University of California Press, 2001.

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35

Kratz, Corinne. The Ones That Are Wanted: Communication and the Politics of Representation in a Photographic Exhibition. University of California Press, 2001.

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36

Ikosuru imeji: 1980-nendai no eizo hyogen = Images in transition : Photographic representation in the eighties. Kyoto Kokuritsu Kindai Bijutsukan, 1990.

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37

Kratz, Corinne. The Ones That Are Wanted: Communication and the Politics of Representation in a Photographic Exhibition. University of California Press, 2001.

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38

Ikōsuru imēji: 1980-nendai no eizō hyōgen = Images in transition : photographic representation in the eighties. [Kyoto]: Kyōto Kokuritsu Kindai Bijutsukan, 1990.

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39

Finnegan, Cara A. The Presence of Unknown Soldiers and Imaginary Spirits. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039263.003.0002.

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This chapter analyzes close readings of photographs of the battlefield dead at Antietam, published accounts of photographs of unknown soldiers, and public commentary and trial transcripts related to the practice of spirit photography. Such photographs posed considerable reading problems for viewers who were unaccustomed to the idea of photographic representations of death and the afterlife. In a time of national crisis, grief, and trauma, viewers made sense of such images by drawing on their recognition of photography's capacity to produce presence. The chapter first provides an overview of Civil War photography before turning to photographs of unknown soldiers at the Battle of Antietam. It also considers how the most permanent of absences were seemingly erased by the mysterious appearance of the apparent spirits of deceased family and friends in photographic portraits. During a period in which the collective grief of the “republic of suffering” vividly animated public life, those who read both war and spirit photographs recognized the medium's capacity for producing presence in the face of the most traumatic of absences.

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40

A Survey of the Representation of Prisoners in the United States: Discipline and Photographs--The Prison Experience (Studies in the Photographic Arts, V. 3). Edwin Mellen Press, 1999.

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41

Robert, Buitrón, e Heard Museum, eds. Picarte!: Photography beyond representation. Phoenix, AZ: Heard Museum, 2003.

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42

Presentation, Representation. Verlag der Buchhandlung Walther Konig, 2008.

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43

Hornby, Louise. Resisting Arrest. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190661229.003.0002.

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This chapter examines how early filmmakers had to invent what motion looked like on screen, imagining it as distinct from stillness, legibility, or clarity. The images of motion in early film are blurred and impressionistic—ocean waves, clouds of dust, puffs of steam and smoke—which render motion itself a kind of obscurity and reveal how film is itself an ephemeral medium of dust and smoke. The precursor to film’s absent materiality is found in photography’s own representation of motion as blur in Etienne-Jules Marey’s strange late nineteenth-century photographs of smoke fillets and the movements of air. These images, lesser known than his other motion studies, reveal how film casts back to its still antecedent to imagine motion in blurred terms of smoke and dust, even as it resists photographic arrest.

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44

hoogland, renée c. Un/Becoming Claude Cahun: Zigzagging in a Pack. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474422734.003.0008.

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Considered odd, obscene, a genius nonetheless, at the time she created her best-known works, French photographer and writer Claude Cahun (1894-1950) cuts a particularly unruly figure in literary criticism and art history. Her recalcitrant faux autobiography Aveux non avenus, [Disavowals, or, Cancelled Confessions] (1930), a book of essays and recorded dreams illustrated with photomontages, have encouraged the artist’s association with High Modernism and Surrealism while her photographic self-portraits have been claimed for an affirmative (feminist) gender politics. However, the proliferous and mercurial nature of Cahun’s disavowed confessions and self-stagings defy easy “domestication.” Instead she constructs a continuously shifting configuration of fragments and collages: assemblages of singularities that are always in a multiplicity, in a pack. Escaping dominant forms of expression, Cahun’s work has nothing to do with recognition or imitation, nor does it constitute a relation of representation. The chapter argues instead that Cahun presents us in both her writing and in her photographic work with the successful experience of becoming in the absence of any final term or form. A becoming-animal that moves beyond destruction into the zone of indiscernibility where a work, or, perhaps, an oeuvre comes into view—an oeuvre that nonetheless remains decidedly outlandish.

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45

Schama, Simon. Jews/America: A Representation. Harry N Abrams, 1996.

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46

Poetry, Photography, Ekphrasis: Lyrical Representations of Photographs from the 19th Century to the Present. Liverpool University Press, 2015.

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47

Graves, Margaret S. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190695910.003.0001.

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The introduction outlines the art of the object in medieval Islam and introduces several of the book’s key concepts. It aligns architecture and the plastic arts, and shows how points of commonality between these “arts of the third dimension” are drawn allusively in the medieval Islamic context, relying not on direct morphological likeness but on indirect models of representation. It also discusses the implications of miniaturization and draws distinctions between the allusive artworks under discussion and representational objects like architectural maquettes or votive models. The introduction tackles head-on the unique issues of medieval Islamic portable artworks: the mobility of the objects and the problems this raises for traditional taxonomies, the role of the art market in the formation of the extant corpus, and the reductive effects of museum display and photographic reproduction on objects that were originally designed to be held and moved in the hands.

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48

Kulturprogramm, Siemens. Photography After Photography: Memory and Representation in the Digital Age. Art Stock, 1997.

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49

von, Amelunxen Hubertus, Iglhaut Stefan, Rötzer Florian 1953-, Cassel Alexis 1964-, Siemens Kulturprogramm e Aktionsforum Praterinsel (Munich Germany), eds. Photography after photography: Memory and representation in the digital age. [s.l.]: G+B Arts, 1996.

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50

Revelation: Representations of Christ in Photography. Merrell, 2003.

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