Pub Date : 2024-02-27DOI: 10.1080/17540763.2023.2271008
Patricia Hayes
{"title":"LINES AND BETRAYALS: THE COLONIAL OCCUPATION OF THE KWANYAMA KINGDOM ON THE ANGOLA/NAMIBIA BORDER AND POSTMORTEM PHOTOGRAPHS OF MANDUME YA NDEMUFAYO (1917)","authors":"Patricia Hayes","doi":"10.1080/17540763.2023.2271008","DOIUrl":"https://doi.org/10.1080/17540763.2023.2271008","url":null,"abstract":"","PeriodicalId":39970,"journal":{"name":"Photographies","volume":"37 11","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140424573","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-27DOI: 10.1080/17540763.2023.2269397
H. T. Lee
{"title":"“THE NUMBER ONE CHINA-JAPAN CAMERA HOUSE”: CHIYO YOKO PHOTO SUPPLIES AND THE BUSINESS OF PHOTOGRAPHY IN INTERWAR SHANGHAI","authors":"H. T. Lee","doi":"10.1080/17540763.2023.2269397","DOIUrl":"https://doi.org/10.1080/17540763.2023.2269397","url":null,"abstract":"","PeriodicalId":39970,"journal":{"name":"Photographies","volume":"10 7","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140426321","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-09DOI: 10.1080/17540763.2023.2239558
Liz Wells
Following on from two guest edited themed issues, Vol 16.3 offers a photo essay and seven individually submitted articles that between them encompass a wide range of themes, from more theoretical concerns with methods in photo-criticism, photobooks, alternative documentary strategies, and comparison of approaches within photo education, to the gothic and the surreal in art photography, and a photoessay seated in environmentalist concerns. Together they indicate something of the breadth of critical research that currently characterises the field of photographic theory and practice. Volume 17.1/2, forthcoming spring 2024, will bring together papers and photoworks, foregrounding ideas and research first tested at the photographies conference on Borders and Boundaries co-hosted with University of Texas San Antonio in September 2022 For personal or institutional subscriptions to the journal, please make contact via https://www.tandfonline.com/journals/rpho20
{"title":"Editorial – 16.3","authors":"Liz Wells","doi":"10.1080/17540763.2023.2239558","DOIUrl":"https://doi.org/10.1080/17540763.2023.2239558","url":null,"abstract":"Following on from two guest edited themed issues, Vol 16.3 offers a photo essay and seven individually submitted articles that between them encompass a wide range of themes, from more theoretical concerns with methods in photo-criticism, photobooks, alternative documentary strategies, and comparison of approaches within photo education, to the gothic and the surreal in art photography, and a photoessay seated in environmentalist concerns. Together they indicate something of the breadth of critical research that currently characterises the field of photographic theory and practice. Volume 17.1/2, forthcoming spring 2024, will bring together papers and photoworks, foregrounding ideas and research first tested at the photographies conference on Borders and Boundaries co-hosted with University of Texas San Antonio in September 2022 For personal or institutional subscriptions to the journal, please make contact via https://www.tandfonline.com/journals/rpho20","PeriodicalId":39970,"journal":{"name":"Photographies","volume":"16 1","pages":"313 - 313"},"PeriodicalIF":0.0,"publicationDate":"2023-08-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42970259","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-09DOI: 10.1080/17540763.2023.2227634
A. Schürmann
In this essay, movement is grasped as something that not only exists in front of or in the camera, but also consciously works with the properties of the photobook and the recipient. Phenomenologically prepared by thinkers from Husserl to Gombrich, current perceptual psychological concepts such as Predictive Coding Theory (PCT) support the assumption that expectations and experiences interact as top-down processes with the bottom-up experiences of image perception. I examine this interaction on four levels using two photobooks by Gerry Johansson and Lars Tunbjörk: the level of the image object, the level of the image vehicle, the level of the photographer and the level of the photobook. Based on a brief historical classification, movement is examined in its reception-aesthetic relevance on the basis of photographic features such as the flash in order to show that movement, more than almost any other aspect in photography, can organise space and time, variance and redundancy, as well as the visible and the invisible, and endow them with meaning.
{"title":"OF FAST AND SLOW PAGES: MOVEMENT IN THE PHOTOBOOK","authors":"A. Schürmann","doi":"10.1080/17540763.2023.2227634","DOIUrl":"https://doi.org/10.1080/17540763.2023.2227634","url":null,"abstract":"In this essay, movement is grasped as something that not only exists in front of or in the camera, but also consciously works with the properties of the photobook and the recipient. Phenomenologically prepared by thinkers from Husserl to Gombrich, current perceptual psychological concepts such as Predictive Coding Theory (PCT) support the assumption that expectations and experiences interact as top-down processes with the bottom-up experiences of image perception. I examine this interaction on four levels using two photobooks by Gerry Johansson and Lars Tunbjörk: the level of the image object, the level of the image vehicle, the level of the photographer and the level of the photobook. Based on a brief historical classification, movement is examined in its reception-aesthetic relevance on the basis of photographic features such as the flash in order to show that movement, more than almost any other aspect in photography, can organise space and time, variance and redundancy, as well as the visible and the invisible, and endow them with meaning.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":"16 1","pages":"453 - 481"},"PeriodicalIF":0.0,"publicationDate":"2023-08-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42121384","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-09DOI: 10.1080/17540763.2023.2233510
P. Åker
The aim of this study is to understand the ‘photographic selves’ – the collective competences and skills required for making, interpreting, and communicating through photographs — that are articulated in the educational framework for future photographers in Russia and Sweden. These are two countries with very different histories in relation to photographic practices. Theories on photography from recent decades have emphasized that digital photography is a different medium from analogue photography. This study seeks to understand whether and how this is addressed in two different cultural contexts, based on interviews with teachers and department heads, combined with written descriptions of courses and educational programs. The material makes visible different ideal photographic practices. One, the most common in both countries, is firmly embedded in the international documentary tradition. Other ways, represented by teachers at a Russian art school for photography, stress a more critical perspective toward established conventions. However, absent at the studied schools are more freer understandings of photography in the wake of digitization. Photography is still framed by the historically anchored indexical relation to the surrounding world and as a fixed object.
{"title":"FRAMING “THE PHOTOGRAPHIC SELF” IN EDUCATION PROGRAMS FOR PHOTOGRAPHERS IN RUSSIA AND SWEDEN","authors":"P. Åker","doi":"10.1080/17540763.2023.2233510","DOIUrl":"https://doi.org/10.1080/17540763.2023.2233510","url":null,"abstract":"The aim of this study is to understand the ‘photographic selves’ – the collective competences and skills required for making, interpreting, and communicating through photographs — that are articulated in the educational framework for future photographers in Russia and Sweden. These are two countries with very different histories in relation to photographic practices. Theories on photography from recent decades have emphasized that digital photography is a different medium from analogue photography. This study seeks to understand whether and how this is addressed in two different cultural contexts, based on interviews with teachers and department heads, combined with written descriptions of courses and educational programs. The material makes visible different ideal photographic practices. One, the most common in both countries, is firmly embedded in the international documentary tradition. Other ways, represented by teachers at a Russian art school for photography, stress a more critical perspective toward established conventions. However, absent at the studied schools are more freer understandings of photography in the wake of digitization. Photography is still framed by the historically anchored indexical relation to the surrounding world and as a fixed object.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":"16 1","pages":"484 - 501"},"PeriodicalIF":0.0,"publicationDate":"2023-08-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42730605","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-09DOI: 10.1080/17540763.2023.2227632
Thomas Aiello
In the sixth issue of Georges Bataille’s surrealist magazine Documents, published in 1929, a series of photographs by Eli Lotar documented an abattoir in the La Villette section of Paris. In text that accompanied the series, Bataille described the slaughterhouse as ‘a disturbing convergence of the mysteries of myth and the ominous grandeur typical of those places in which blood flows.’ The photographs chronicled both the banality and the horror of what took place in institutions that had removed the process of killing animals and processing their corpses from human view. Twenty years later, Georges Franju’s film Blood of the Beasts would provide its own exposure of the slaughterhouse, interspersed with quiet scenes of a Paris suburb, at the other end of the surrealist period. This project uses the two surrealist encounters with the slaughterhouse to evaluate the artistic movement’s interpretation of human society’s dependence on violence toward animals.
在1929年出版的乔治·巴塔耶(Georges Bataille)的超现实主义杂志《文件》(Documents)的第六期中，伊莱·洛塔尔(Eli Lotar)拍摄的一系列照片记录了巴黎拉维莱特地区的一个屠宰场。巴塔耶在随笔中写道，屠宰场“令人不安地融合了神秘的神话和不祥的宏伟，这是血流之地的典型特征”。“这些照片记录了发生在那些从人类视野中移除杀害动物和处理尸体过程的机构里的平凡和恐怖。”20年后，乔治·弗朗朱(Georges Franju)的电影《兽血》(Blood of the Beasts)展现了这个屠宰场，穿插着巴黎郊区的宁静场景，处于超现实主义时期的另一端。这个项目用超现实主义与屠宰场的两次相遇来评估艺术运动对人类社会对动物暴力依赖的解释。
{"title":"Surrealism and the slaughterhouse: art and animals in Lotar’s La Villette and Franju’s Blood of the Beasts","authors":"Thomas Aiello","doi":"10.1080/17540763.2023.2227632","DOIUrl":"https://doi.org/10.1080/17540763.2023.2227632","url":null,"abstract":"In the sixth issue of Georges Bataille’s surrealist magazine Documents, published in 1929, a series of photographs by Eli Lotar documented an abattoir in the La Villette section of Paris. In text that accompanied the series, Bataille described the slaughterhouse as ‘a disturbing convergence of the mysteries of myth and the ominous grandeur typical of those places in which blood flows.’ The photographs chronicled both the banality and the horror of what took place in institutions that had removed the process of killing animals and processing their corpses from human view. Twenty years later, Georges Franju’s film Blood of the Beasts would provide its own exposure of the slaughterhouse, interspersed with quiet scenes of a Paris suburb, at the other end of the surrealist period. This project uses the two surrealist encounters with the slaughterhouse to evaluate the artistic movement’s interpretation of human society’s dependence on violence toward animals.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":"16 2","pages":"359 - 391"},"PeriodicalIF":0.0,"publicationDate":"2023-08-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41267584","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-09DOI: 10.1080/17540763.2023.2185661
Jacob Bañuelos Capistrán
The objective of this essay is to propose a hermeneutic socio-semiotic model that helps build an interdisciplinary photographic critique based on theoretical foundations. How to carry out a photographic review? How to use and map theoretical-methodological perspectives about photography? The contemporary socio-technical context of images has placed photography in a complex sociocultural, technological and discursive scenario, which requires an epistemological map to help guide the construction of a critical-theoretical discourse for it to be understood. In this way, a model with two purposes is suggested, to serve as a chart for navigating the ocean of perspectives and theoretical references of the critical discourses of photography; and to serve as a starting point to build a hermeneutic and interdisciplinary socio-semiotic critique. The application of the model is exemplified by the analysis of Max Siedentopf’s production, How to Survive a Deadly Global Virus, 2020. The proposed experimental model has a hermeneutic, flexible, open, non-exclusive or limiting character, which contributes to the construction of a theoretically grounded critique of photographic images.
本文的目的是提出一个解释学的社会符号学模型，以帮助建立一个基于理论基础的跨学科摄影批评。如何进行照片审查？如何使用和绘制关于摄影的理论方法论视角？图像的当代社会技术背景将摄影置于一个复杂的社会文化、技术和话语场景中，这需要一个认识论地图来帮助指导批判性理论话语的构建，以便理解它。通过这种方式，我们提出了一个有两个目的的模型，作为一张图表，在摄影批评话语的视角和理论参考的海洋中导航；并以此为出发点构建解释学和跨学科的社会符号学批判。Max Siedentopf的作品《如何在致命的全球病毒中生存》（How to Survive a Deadly Global Virus，2020）的分析举例说明了该模型的应用。所提出的实验模型具有解释学、灵活性、开放性、非排他性或限制性，有助于构建一种基于理论的摄影图像批判。
{"title":"HERMENEUTICAL AND INTERDISCIPLINARY SOCIO-SEMIOTIC MODEL FOR A PHOTOGRAPHIC CRITIQUE. CASE ANALYSIS: MAX SIEDENTOPF, HOW TO SURVIVE A DEADLY GLOBAL VIRUS, 2020","authors":"Jacob Bañuelos Capistrán","doi":"10.1080/17540763.2023.2185661","DOIUrl":"https://doi.org/10.1080/17540763.2023.2185661","url":null,"abstract":"The objective of this essay is to propose a hermeneutic socio-semiotic model that helps build an interdisciplinary photographic critique based on theoretical foundations. How to carry out a photographic review? How to use and map theoretical-methodological perspectives about photography? The contemporary socio-technical context of images has placed photography in a complex sociocultural, technological and discursive scenario, which requires an epistemological map to help guide the construction of a critical-theoretical discourse for it to be understood. In this way, a model with two purposes is suggested, to serve as a chart for navigating the ocean of perspectives and theoretical references of the critical discourses of photography; and to serve as a starting point to build a hermeneutic and interdisciplinary socio-semiotic critique. The application of the model is exemplified by the analysis of Max Siedentopf’s production, How to Survive a Deadly Global Virus, 2020. The proposed experimental model has a hermeneutic, flexible, open, non-exclusive or limiting character, which contributes to the construction of a theoretically grounded critique of photographic images.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":"16 1","pages":"316 - 335"},"PeriodicalIF":0.0,"publicationDate":"2023-08-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41880560","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-09DOI: 10.1080/17540763.2023.2233524
Josh Ellenbogen
This article examines the idea of ‘reading photographs’ as it circulated in postwar American criticism. It looks principally to the work of Henry Holmes Smith and Minor White and the way in which they deployed the idea, as well as the institutional framework of photographic journals in which their writing circulated. The essay examines the role that the concept played in helping establish photo-criticism as an established genre of writing, and explores particular emphases in that writing that proceeded from the claim audiences ‘read photographs’; of these emphases, the most important and germinative ones centered around photographic traditions and their capacity to establish the parameters of the photographic medium itself. From the vantage delineated above, the essay also situates photo-criticism in a larger universe of postwar concern, one that centered on the mutual convertibility of pictorial and linguistic forms: the development of ‘visual literacy’ discourse, protocols for training photographers as these emerged in the 1960s, and broader agendas in the postwar American university system, with all their interest in visual pedagogy.
{"title":"“WORDS NOT SPENT TODAY BUY SMALLER IMAGES TOMORROW”: READING PHOTOGRAPHS AND THE EMERGENCE OF POSTWAR PHOTOGRAPHIC CRITICISM IN THE USA","authors":"Josh Ellenbogen","doi":"10.1080/17540763.2023.2233524","DOIUrl":"https://doi.org/10.1080/17540763.2023.2233524","url":null,"abstract":"This article examines the idea of ‘reading photographs’ as it circulated in postwar American criticism. It looks principally to the work of Henry Holmes Smith and Minor White and the way in which they deployed the idea, as well as the institutional framework of photographic journals in which their writing circulated. The essay examines the role that the concept played in helping establish photo-criticism as an established genre of writing, and explores particular emphases in that writing that proceeded from the claim audiences ‘read photographs’; of these emphases, the most important and germinative ones centered around photographic traditions and their capacity to establish the parameters of the photographic medium itself. From the vantage delineated above, the essay also situates photo-criticism in a larger universe of postwar concern, one that centered on the mutual convertibility of pictorial and linguistic forms: the development of ‘visual literacy’ discourse, protocols for training photographers as these emerged in the 1960s, and broader agendas in the postwar American university system, with all their interest in visual pedagogy.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":"16 1","pages":"337 - 358"},"PeriodicalIF":0.0,"publicationDate":"2023-08-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47842221","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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