Pub Date : 2021-10-02DOI: 10.1080/03087298.2022.2108263
Benjamin D. H. Snyder
In 2020, the Baltimore Police Department used aerial surveillance camera technology, dubbed the ‘spy plane’, that recorded the movements of nearly every citizen from above. Based on direct observation inside the programme’s operations centre, this article shows how a ‘grainy truth’ aesthetic, created by engineers to combat criticisms of the programme’s invasiveness, also influenced the actual labour of surveillance. An obsession in the public debate and within the operations centre about how the imagery looks, however, overshadowed the most worrisome aspect of the programme: its infrastructure of representation. City officials are now saddled with managing a massive database of citizen location data owned by a private company, prompting difficult questions about the privatisation of policing.
{"title":"‘All we see is dots’: Aerial Objectivity and Mass Surveillance in Baltimore","authors":"Benjamin D. H. Snyder","doi":"10.1080/03087298.2022.2108263","DOIUrl":"https://doi.org/10.1080/03087298.2022.2108263","url":null,"abstract":"In 2020, the Baltimore Police Department used aerial surveillance camera technology, dubbed the ‘spy plane’, that recorded the movements of nearly every citizen from above. Based on direct observation inside the programme’s operations centre, this article shows how a ‘grainy truth’ aesthetic, created by engineers to combat criticisms of the programme’s invasiveness, also influenced the actual labour of surveillance. An obsession in the public debate and within the operations centre about how the imagery looks, however, overshadowed the most worrisome aspect of the programme: its infrastructure of representation. City officials are now saddled with managing a massive database of citizen location data owned by a private company, prompting difficult questions about the privatisation of policing.","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"45 1","pages":"376 - 387"},"PeriodicalIF":0.2,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44847385","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-02DOI: 10.1080/03087298.2021.2145708
Zeynep Devrim Gürsel
Alphonse Bertillon’s system of identification has taken a place in the canon of photographic history ever since several key texts published in the 1980s demanded scholarly attention to repressive as well as honorific portraits. This article focuses on Bertillon’s most spectacular accomplishment, which resulted in the worldwide adoption of his techniques: the 1892 arrest and identification of the famed anarchist Ravachol. Ravachol’s identification became a highly publicised struggle over the image of both the state and the anarchist during the height of anarchism in Europe.
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Pub Date : 2021-10-02DOI: 10.1080/03087298.2022.2122239
Christina Aushana, Tara-Lynne Pixley
In this article, we animate the interstitial practices shared by photojournalists and police officers, and sketch some of the stakes for visual practitioners ‘bearing witness while black’. We employ visual analyses of protest images by Black photographers while tracing the specific visual techniques of oversight mobilised by law enforcement. These include police departments’ co-optation of news images to identify and criminalise racial justice protesters alongside efforts to professionalise police officers into photographers. We theorise the anti-Black intersections shared across these expansive formations – policing and photojournalism – in an effort to account for the ways in which both systems maintain and invest in damaging visualities that shape consequences ‘on the ground’ for Black and brown communities.
{"title":"Arresting Optics: Black Femme Witnessing in Protest Photojournalism and the Anti-Black Techniques of Police Vision","authors":"Christina Aushana, Tara-Lynne Pixley","doi":"10.1080/03087298.2022.2122239","DOIUrl":"https://doi.org/10.1080/03087298.2022.2122239","url":null,"abstract":"In this article, we animate the interstitial practices shared by photojournalists and police officers, and sketch some of the stakes for visual practitioners ‘bearing witness while black’. We employ visual analyses of protest images by Black photographers while tracing the specific visual techniques of oversight mobilised by law enforcement. These include police departments’ co-optation of news images to identify and criminalise racial justice protesters alongside efforts to professionalise police officers into photographers. We theorise the anti-Black intersections shared across these expansive formations – policing and photojournalism – in an effort to account for the ways in which both systems maintain and invest in damaging visualities that shape consequences ‘on the ground’ for Black and brown communities.","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"45 1","pages":"399 - 410"},"PeriodicalIF":0.2,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49570639","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-02DOI: 10.1080/03087298.2022.2138166
LaCharles Ward
Why does visual evidence, when in defence of Black people, always fail to meet the proper evidentiary standards? This article suggests that one part of an answer to this question might be found in early legal debates about how to deal with ‘evidence’ that photography allegedly proffers to the trier of fact. These debates revealed how the introduction of visual culture in the courtroom challenged a legal culture that hinged on the spoken and written word. Likewise, it also marked the beginning of an unstable legal discourse on visual evidence that continues to shape our present-day understanding of evidence and how we have come to see and interpret visual evidence. The argument advanced here, then, is that this legal seeing—refracted by and through whiteness and foundationally anti-Black—is the ideological filter through which the public have been conditioned to make sense of visual evidence of anti-Black violence and death. Finally, the article turns to the work of Carrie Mae Weems to claim that Black people, through a multitude of practices, continue to construct alternative forms of visual evidence that challenge law’s stronghold on what counts as evidentiary.
为什么视觉证据在为黑人辩护时总是达不到适当的证据标准？这篇文章表明，这个问题的一部分答案可能在早期的法律辩论中找到，即如何处理据称摄影提供给事实核查者的“证据”。这些辩论揭示了在法庭上引入视觉文化是如何挑战依赖口头和书面文字的法律文化的。同样，它也标志着关于视觉证据的不稳定法律话语的开始，这种不稳定的法律话语继续影响着我们今天对证据的理解，以及我们如何看待和解释视觉证据。因此，这里提出的论点是，这种法律视角——由白人折射并通过白人折射，从根本上反黑人——是一种意识形态过滤器，通过这种过滤器，公众已经习惯于理解反黑人暴力和死亡的视觉证据。最后，文章转向Carrie Mae Weems的工作，声称黑人通过多种实践，继续构建替代形式的视觉证据，挑战法律对证据的支持。
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Pub Date : 2021-10-02DOI: 10.1080/03087298.2022.2113621
Justin Carville
Framing photography and policing through Michael Foucault’s concept of counter-conducts in his writings on governmentality, this article discusses photography’s provocations within colonial governmentality of the Irish insurgent movements of the mid nineteenth century. In 1866, British authorities legislated for suspension of habeas corpus in response to what they identified as the Fenian threat to the ideals of the modern liberal state. Fenian insurgency was not just an anti-colonial movement but an asymmetrical political fraternity with a trans-Atlantic membership that included retired American Civil War veterans. Mobilised for the identification and surveillance of Fenians traversing across the Atlantic and the Irish Sea, photography was used to arrest the likenesses of individuals whose mobility threatened the security of the state and its colonies. In this process, the photograph’s mass reproducibility and mobility as a material image-object was pressed into action to identify suspected insurgents. Exploring the entwined histories of photography, policing and the Fenian Irish, the article discusses how photography simultaneously contributed to and undermined colonial governmentality.
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Pub Date : 2021-10-02DOI: 10.1080/03087298.2022.2113220
Mira Rai Waits
Stationed in cities, towns and villages across the Indian subcontinent, the colonial police were a ubiquitous presence under the British Raj. Visuality was central to the policing project; the police’s effectiveness was predicated on colonial subjects’ recognition of police authority. Photographs of policepersons and police buildings, appearing in manuals, histories and memoirs, private albums, imperial educational propaganda and on postcards, testify to the pervasiveness of the policing institution within the colonial landscape and the institution’s commitment to visuality. The sheer volume of these photographs invites consideration. While existing scholarship on the colonial police and photography has largely focused on how the police harnessed the medium in their efforts to visualise colonial criminals, this article considers photography as a means of producing the police to make legible the imperial social order. Various photographs of policepersons and police buildings – mundane and propagandistic images when considered within the broader history of colonial Indian photography – index imperial interactions, revealing the visual language the police relied on to assert their authority.
{"title":"Visualising Order: Photography and the Production of the Colonial Police in India","authors":"Mira Rai Waits","doi":"10.1080/03087298.2022.2113220","DOIUrl":"https://doi.org/10.1080/03087298.2022.2113220","url":null,"abstract":"Stationed in cities, towns and villages across the Indian subcontinent, the colonial police were a ubiquitous presence under the British Raj. Visuality was central to the policing project; the police’s effectiveness was predicated on colonial subjects’ recognition of police authority. Photographs of policepersons and police buildings, appearing in manuals, histories and memoirs, private albums, imperial educational propaganda and on postcards, testify to the pervasiveness of the policing institution within the colonial landscape and the institution’s commitment to visuality. The sheer volume of these photographs invites consideration. While existing scholarship on the colonial police and photography has largely focused on how the police harnessed the medium in their efforts to visualise colonial criminals, this article considers photography as a means of producing the police to make legible the imperial social order. Various photographs of policepersons and police buildings – mundane and propagandistic images when considered within the broader history of colonial Indian photography – index imperial interactions, revealing the visual language the police relied on to assert their authority.","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"83 1","pages":"278 - 291"},"PeriodicalIF":0.2,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41282825","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-02DOI: 10.1080/03087298.2022.2105550
Beth A. Uzwiak
US feminist grassroots organising of the 1960s positioned its critique of domestic violence within a social analysis of class, race, sexuality and gender. In subsequent decades, feminist organising largely shifted to service provision which brought collusion with state entities and police in the quest to criminalise domestic violence. Criminalisation introduced a demand for corroborative evidence including the use of photographs to ‘prove’ violence as enacted on victims’ bodies. Through a consideration of the history of domestic violence photography and ethnographic data gathered with women residing in a domestic violence shelter, I explore how domestic violence photographs can reinforce entrenched gendered and racialised inequities and engender new ones. In many states, evidence-based prosecution does not rely on victim testimony and can be used without the consent of the harmed person. Rather than simply a mechanism of state control, however, the meaning and utility of evidentiary photographs remain unstable. Ethnographic data suggest that photographs and videos of domestic violence reverberate within and beyond the logics of state violence. I argue that photographic consent emerges as a vector to consider alternatives to criminal prosecution via policing.
{"title":"Feminist In/Visibilities: Questions of Consent when Policing Domestic Violence with Photographic Evidence","authors":"Beth A. Uzwiak","doi":"10.1080/03087298.2022.2105550","DOIUrl":"https://doi.org/10.1080/03087298.2022.2105550","url":null,"abstract":"US feminist grassroots organising of the 1960s positioned its critique of domestic violence within a social analysis of class, race, sexuality and gender. In subsequent decades, feminist organising largely shifted to service provision which brought collusion with state entities and police in the quest to criminalise domestic violence. Criminalisation introduced a demand for corroborative evidence including the use of photographs to ‘prove’ violence as enacted on victims’ bodies. Through a consideration of the history of domestic violence photography and ethnographic data gathered with women residing in a domestic violence shelter, I explore how domestic violence photographs can reinforce entrenched gendered and racialised inequities and engender new ones. In many states, evidence-based prosecution does not rely on victim testimony and can be used without the consent of the harmed person. Rather than simply a mechanism of state control, however, the meaning and utility of evidentiary photographs remain unstable. Ethnographic data suggest that photographs and videos of domestic violence reverberate within and beyond the logics of state violence. I argue that photographic consent emerges as a vector to consider alternatives to criminal prosecution via policing.","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"45 1","pages":"388 - 398"},"PeriodicalIF":0.2,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48506979","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-02DOI: 10.1080/03087298.2022.2113246
Elahe Helbig
This article examines prisoner photography in Qajar Iran encompassing images not only of criminals but also of religious apostates and political opponents, taken in an institutional framework between the 1860s and the 1910s. The article sheds light on the use of photography as a technology of violence by the Qajar autocracy in the late nineteenth century and its use as a technology of evidence following the police reforms in the early twentieth century. Frequently used prior to imminent execution, photographs of prisoners became a ritual within the violent regime: a performative act associated with death and dying. Thus, prisoner photography correlated with the earlier body-centred forms of chastisement and torture in Qajar society that were abounded from the public spaces after several penal reforms. It was only in the wake of the broad-reaching police reforms in the 1910s that a universal system of judicial photography as instructed by Alphonse Bertillon was established, epitomising the ostensive aspects of the global mobility and circulation of technologies, methods and expertise. Thus, the practice of photographing prisoners lays bare unique insights into the judicial and penal systems of Qajar Iran and their ensuing transformation as part of modernisation and the formation of nation-building.
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Pub Date : 2021-10-02DOI: 10.1080/03087298.2021.2144424
Zeynep Devrim Gürsel, Jason E. Hill
Over the more than two-year course of developing and finalising this special issue, we have steadily considered the valences of Lorena Rizzo’s 2013 epigrammatic characterisation of police photography’s cultural force, in its power to both invite and hold our attention by its generic sensational verve – we are captivated – and, in the same instant, and not seldom as a function of the latter, to punitively frame the limits of our critical inquiry if not indeed our liberty – we are made captive. Only now that all articles are assembled and the issue is ready for press does a third valence fully assert itself: ‘time and again’ the logic of police photography – the logic of the assemblage police/photography – can only be understood in its distinct and local operational temporalities and repetitions, both in the unfolding and echoing moments of their articulation, and in our historical measure of the same. Much has been made of policing’s distinctive temporality, its ‘split second’, as it is made an instrument of police work and as it might lend itself to oppositional, ameliorative counter-forensic inquiry. Eyal Weizman and Matthew Fuller have recently described this brief instant, how it might contain the police officer’s autoexonerating ‘split-second decision’, or the police or press photographer’s incriminating split-second exposure, as policing’s ‘temporal state of exception’, where nothing can be certain and all is potentially a threat and where, accordingly, the most terrible violations can be judicially sanctioned. As we will so often find in the pages that follow, police photography, from the crime scene photograph to the mug shot to the ‘police beat’ news photograph, is perhaps ontologically anchored in this abbreviated and speculative temporality of the instant, where the medium’s compressed temporal frame is made a feature, wherein everything and everyone is established as suspect and no alibi or reasoned defence might be heard. It is our hope, in this issue, to pry open some photographic instances – from Dublin, Seychelles and Mauritius, Paris and Tehran in the nineteenth century, to Bombay, Guatemala City, Kansas City and New Jersey, in the twentieth century, to Philadelphia, Baltimore and Los Angeles in the twenty-first century – so that we might better understand the logic of the complex events these images aspire to distil. Our aim is to better understand the dynamics of these two seemingly kindred and conjoined technological, political and historical formations – police and photography. We were often reminded by colleagues in the period of this project’s development that it was a timely one. The political stakes of reflecting on policing as Emails for correspondence: z.gursel@rutgers.edu, jehill@udel.edu
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Pub Date : 2021-10-02DOI: 10.1080/03087298.2022.2112469
Jason Hill
The arrival of police radio inaugurated a vast and punitive new media ecology. Between the 1920s and the 1950s the installation and implementation of police radio systems – now ubiquitous and utterly naturalised – in towns and cities across the USA restructured the practice of policing and the experience of being policed. These processes radically revised the social, psycho-geographic and spatiotemporal relations unfolding amid the new medium’s localised atmospheres of broadcast, reception and swift weaponised response. Image makers working in a range of media, including painters and news photographers, operated within this atmosphere. Positing police radio as a vital and violent representational infrastructure, this article tracks its technological reordering of municipal space as tactical policed space, both as this space was given to appear in Municipal Law Enforcement, a large oil painting created circa 1950 by Kansas City police officer Charles M. ‘Pat’ Murray for his department, and as this painting was reproduced, and its signal thereby amplified photographically, both locally and nationally by daily newspapers.
警用电台的出现开启了一个庞大而严厉的新媒体生态。在20世纪20年代到50年代之间，警察无线电系统的安装和实施——现在无处不在，完全自然化了——在美国各地的城镇和城市重新调整了警察的做法和被警察的经历。这些过程从根本上改变了社会，心理地理和时空关系，这些关系在新媒体的广播，接收和快速武器化反应的本地化氛围中展开。包括画家和新闻摄影师在内的各种媒体的图像制作者都在这种氛围中工作。本文将警察电台定位为一种至关重要且具有代表性的基础设施，追踪其对市政空间的技术重组，将其作为战术警察空间，因为这个空间出现在《市政执法》中，这是一幅由堪萨斯城警官查尔斯·m·“帕特”·默里(Charles M. ' Pat ' Murray)在1950年左右为他的部门创作的大型油画，而且这幅画被复制，其信号因此被放大，在当地和全国的日报上。
{"title":"Municipal Law Enforcement and Its Transmissions","authors":"Jason Hill","doi":"10.1080/03087298.2022.2112469","DOIUrl":"https://doi.org/10.1080/03087298.2022.2112469","url":null,"abstract":"The arrival of police radio inaugurated a vast and punitive new media ecology. Between the 1920s and the 1950s the installation and implementation of police radio systems – now ubiquitous and utterly naturalised – in towns and cities across the USA restructured the practice of policing and the experience of being policed. These processes radically revised the social, psycho-geographic and spatiotemporal relations unfolding amid the new medium’s localised atmospheres of broadcast, reception and swift weaponised response. Image makers working in a range of media, including painters and news photographers, operated within this atmosphere. Positing police radio as a vital and violent representational infrastructure, this article tracks its technological reordering of municipal space as tactical policed space, both as this space was given to appear in Municipal Law Enforcement, a large oil painting created circa 1950 by Kansas City police officer Charles M. ‘Pat’ Murray for his department, and as this painting was reproduced, and its signal thereby amplified photographically, both locally and nationally by daily newspapers.","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"45 1","pages":"320 - 334"},"PeriodicalIF":0.2,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44165918","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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