Suchergebnisse

Summary
The article explores and expands the historiography of medical photography. First, it revisits historical scholarship on medical photography to demonstrate the absence of a consensus as to what counts as medical photography and what does not. Secondly, the article illustrates the shortcomings of current analytical perspectives with two examples. The first picture was taken by the board of health in Honolulu in 1900 to visualise bubonic plague but resists recognition as a medical representation. The second, a 1986 picture of a person with AIDS, has been perceived as a medicalised photograph contrary to the artist's intention. Both pictures, rather than delivering diagnostic inferences sustained notions of uncertainty and unusualness. With these examples, I outline the often overlooked significance of picturing uncertainty in the historiography of medical photography. Finally, I ask if these visualisations might be better addressed as elements of experimental systems rather than as representations of disease.

'Agitating Images' explores the early history of Communist organisation among small dispersed groups of indigenous Evenki peoples of Central Siberia. It draws this history into an examination of the destabilising role of photographs in the production of history. While documenting the development of Soviet Nationalities policy in context of people who were considered to be socially and technologically 'backwards', the project is resolutely committed to the demonstration of what the author calls photographic agitation

This book argues that photography, with its inherent connection to the embodied material world and its ease of transmissibility, operates as an implicitly political medium. It makes the case that the right to see is fundamental to the right to be. Limning the paradoxical links between photography as a medium and the conditions of political, social, and epistemological disappearance, the book interprets works by African American, Indigenous American, Latinx, and Asian American photographers as acts of political activism in the contemporary idiom. Placing photographic praxis at the crux of 21st-century crises of political equity and sociality, the book uncovers the discursive visual movements through which photography enacts reappearances, bringing to visibility erased and elided histories in the Americas. Artists discussed in-depth include Shelley Niro, Carrie Mae Weems, Paula Luttringer, LaToya Ruby Frazier, Matika Wilbur, Martine Gutiérrez, Ana Mendieta, An-My Lê, and Rebecca Belmore. The book makes visible the American land as a site of contestation, an as-yet not fully recognized battlefield. Claire Raymond teaches at the University of Maine (USA) and the Institute for Doctoral Studies in the Visual Arts (USA). She is the author of eight previous books of feminist scholarship, including The Photographic Uncanny: Photography, Homelessness, and Homesickness and The Selfie, Temporality, and Contemporary Photography.

Intro -- Acknowledgments -- Contents -- List of Figures -- Chapter 1: Introduction: Anticolonialist Photography in the Americas -- Decolonizing the Photographic Imagination -- The Photograph as Act -- What Disappears, What Persists -- On Theory, Methodology, Identity -- Refusals -- Photography and Disappearance -- Theory of the Invisible -- Chapter 2: Seen and the Unseen -- A Small Matter of Wars -- Ancestors -- Monuments and Photographs -- The Naked Image -- The Persistence of Colonialist Memory -- Chapter 3: Staging Returns -- The "Un-Document" -- The Right to Look17 -- Visibility Against Surveillance -- Chapter 4: Empire's Battlefields -- Ten Pretty Little Indian Houses -- Playing War -- Against Erasure -- Ideas of Origin -- Temporal Frames -- Vistas -- Chapter 5: Empire's Dirty Wars -- Elegy and Mourning -- Memory and Return -- Object Studies -- Feminist Gaze -- Feminism across Boundaries -- Rebecca Belmore's New Naming -- Chapter 6: Exiles and Diasporas -- Symbolic Form in Exile -- Eternal Return, Coming Back -- Rewriting the Body -- Dialogic Trace -- Chapter 7: Gendering Decoloniality -- Carrie Mae Weems's Diasporic Haunts -- Waltzing -- Gender's Harms -- The Parlor -- Interiorities -- Chapter 8: Algorithms of Resistance -- Shelley Niro's Self-Reflections -- Cara Romero's Indigeneity -- Matika Wilbur's Map -- Chapter 9: Reclaiming History -- Coyote and Other Tales -- Water Memories -- Television -- Place/No-place -- Indigenous Woman -- Chapter 10: Nomads, Reterritorialization -- Project 562, Nomadism, Finding Home -- Processual Nomadism -- Nomads and Women -- The Inherency of Reterritorialization and Nomadism -- La Pieta -- Chapter 11: Conclusion: Photography, Reappearing -- Beyond the Sacrificial Economy -- Index.

In Photography and Anthropology, Christopher Pinney presents a provocative and readable account of the strikingly parallel histories of the two disciplines, as well as a polemical narrative and overview of the use of photography by anthropologists from the 1840s to the present. Walter Benjamin suggested that photography "make[s] the difference between technology and magic visible as a thoroughly historical variable," and Pinney here explores photography as a divinatory practice that prompted anthropologists to capture the "primitive" lives of those they studied. Early anthropology celebrated p

In Photography and Japan, Karen Fraser argues that the diversity of styles, subjects, and functions of Japanese photography precludes easy categorization along nationalized lines. Instead, she shows that the development of photography within Japan is best understood by examining its close relationship with the country's dramatic cultural, political, and social history. Photography and Japan covers 150 years of photography, a period in which Japan has experienced some of the most significant events in modern history and made a remarkable transformation from an isolated, feudal country into an industrialized, modern world power—a transformation that included a striking rise and fall as an imperial power during the first half of the twentieth century and a miraculous economic recovery in the decades following the devastation of World War II. The history of photography has paralleled these events, becoming inextricably linked with notions of modernity and cultural change. Through thematic chapters that focus on photography's role in negotiating cultural identity, war, and the documentation of urban life, Photography and Japan introduces many images that will be unfamiliar to Western viewers and provides a broadened context for those photos that are better known. ; https://scholarcommons.scu.edu/faculty_books/1130/thumbnail.jpg

Contexts introduction chapter -- Cities and urbanism -- Photography concepts -- Photography and/in/of the city -- The documented city -- Walking the city -- Social and political practices -- The metaphorical city -- Postmodern megalopolis -- City and subject -- Pyschogeographies and the city

This essay provides an overview of Brecht's engagement with photography. His early fascination with the medium developed, in the context of the burgeoning illustrated media landscape and the German "New Photography," into theoretical reflections in dialogue with Walter Benjamin and Siegfried Kracauer. He also began to use photography, especially press photography, in his own work: as a source for the analysis of social behavior and a way of fixing Gestus. In due course he became more and more sensitive to the politics of representation and employed photography directly and innovatively in his own works, the Journal and the "photoepigrams" of War Primer.

Touristisches Fotografieren beschränkt sich auf wenige Themenbereiche. Die heutige touristische Fotografie ist in manchem eine Fortsetzung der Reise- und ethnografischen Fotografie des 19. Jahrhunderts: in der Überbetonung des Ungewöhnlichen, Fremden, Anderen, "Ursprünglichen", Rückständigen, Elenden. Touristische Fotografie ist abhängig vom sozio-kulturellen System, innerhalb dessen sie als Bedürfnis empfunden wird (Bourdieu). Es geht nicht primär um das Foto an sich. Daraus können die Funktionen der Fotografie für gruppenreisende Touristen folgendermaßen umrissen werden: Bestätigung der eigenen Lebenswelt; Reisedokumentation als Teil der Lebenschronik; Legitimisierung sozio-psychischer Tabus (Voyeurismus, Aggressivität, Narzißmus, Exhibitionismus); Idyllisierung und Idealisierung der Welt (als Mittel sozialer Differenzierung, als Mechanismen der Verdrängung und des tröstenden Ausgleichs); Erlebnis (Wiederholung der Reise als Fotoreise, das Erlebnis als Foto, das Foto statt des Erlebnisses); Begrenzung der Vielfalt fremder Wirklichkeit.
- Abwehr und Aneignung des fremden Raumes
- Beschäftigung (während und nach der Reise)
- Kommunikation (mit Auch-Fotografen, Nicht-Fotografen, Fotografierten und Nicht-Verreisten).

This special issue of al-raida on Women and Photography addresses photography as a medium that challenges gender roles, positions, and attributes as seen in the mainstream media. It includes papers by contributors who examine the practice of women photographers in the Middle East as well as the different ways women are represented in photographs from a variety of perspectives that range from critical art disciplines to the social sciences.

The use of photographs in museums can reveal how the perceived transparency of photography and the authority of the museum interact with the subjectivity and the political construction of historical narratives. This paper focuses on the medium of photography in five war-related museums in Cyprus and examines how it is used in the context of these museums as a means to construct strong narratives by assuming the role of factual information and by appealing to emotions. More specifically, this paper explores (a) the types of photographs most common in war museums, (b) the context photography is presented in and how it influences meaning, and (c) the relationship between photography, memory and history. It is argued that photography in museums needs to be treated in a more critical and responsible way.

published_or_final_version ; Literary and Cultural Studies ; Master ; Master of Arts

Two of Foucault's signature essays on painting are especially well known: the analysis of Velazquez's Las Meninas, and an essay on Rene Magritte that includes a striking account of how abstraction displaced representation in Western art. In addition, many of Foucault's texts are studded with acute descriptions of major painters from Breughel to Warhol; he gave lecture courses on quattrocento painting and Manet and published essays on several contemporary artists (Rebeyrolle, Fromanger, Michals). Since one of Foucault's major themes was the relation between visibility and discursivity, it is not surprising to find that painting is a favored site for exploring variations in this conjuncture. Throughout his work, painting and the visual arts serve as emblems of the epistemes that characterize distinct epochs of thought. At the same time, Foucault's engagement with contemporary art reveals his sense of its political significance and force. These themes coincide in Foucault's continuing interest in how art forms can break with acquired archives, apparatuses, and practices. In (mostly implicit) contrast with romantic concepts of genius (as in Kant, or more generally in the time of "man and his doubles"), Foucault attempted to analyze and articulate the processes of rupture and transformation that mark specific changes in what is called style. Dominant trends in art history either sought to trace relatively continuous developments (following a Hegelian lineage) or operated with sets of categories derived from Geistesgeschichte such as Heinrich Wollflin's linear and painterly modes. Philosophical aesthetics (as Derrida observes) has systematically (from Plato to Heidegger) given premier status to the linguistic arts of poetry and literature. Both of those ways of understanding visual art are put into question by Foucault's engagement with painting and photography.