Photography and Culture最新文献

{"title":"Evelyn Hofer and the “Moment of Danger”","authors":"Paul Carpenter","doi":"10.1080/17514517.2023.2287951","DOIUrl":"https://doi.org/10.1080/17514517.2023.2287951","url":null,"abstract":"Published in Photography and Culture (Vol. 16, No. 2, 2023)","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":"200 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138690534","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Coming and Going","authors":"Nicoló Giudice","doi":"10.1080/17514517.2023.2287950","DOIUrl":"https://doi.org/10.1080/17514517.2023.2287950","url":null,"abstract":"Published in Photography and Culture (Vol. 16, No. 2, 2023)","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":"33 1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138690282","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Migratory Technology: Piracy and Bazaar Culture in India and Nepal","authors":"Sarah Bassnett, Ishita Tiwary","doi":"10.1080/17514517.2023.2271792","DOIUrl":"https://doi.org/10.1080/17514517.2023.2271792","url":null,"abstract":"This interview between film and media scholar Ishita Tiwary and art historian Sarah Bassnett was conducted over Zoom in February 2023. It focuses on Tiwary’s research on the migration of photograph...","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":"54 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-11-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138531814","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Photography and Remote Warfare: An Inquiry into the Visual Representation of Cyber in News Images","authors":"Esther Gabrielle Kersley","doi":"10.1080/17514517.2023.2272540","DOIUrl":"https://doi.org/10.1080/17514517.2023.2272540","url":null,"abstract":"While the importance of new technologies for warfare has only grown, the images used to represent them have remained static. Online image searches of ‘cyber attacks’, ‘cyber security’ or ‘cyber war...","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":"60 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-11-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138542043","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Lúa Ribeira, <i>Subida al</i> <i>cielo</i> (Ascent into Heaven), 17.03.2023 Until 02.07.2023, Kutxa Kultur Artegunea Donostia—San Sebastian, Spain","authors":"Mark Durden","doi":"10.1080/17514517.2023.2251320","DOIUrl":"https://doi.org/10.1080/17514517.2023.2251320","url":null,"abstract":"Click to increase image sizeClick to decrease image size Disclosure statementNo potential conflict of interest was reported by the author(s).Additional informationNotes on contributorsMark DurdenMark Durden is an academic, writer and artist. He is Professor of Photography and the Director of the European Centre for Documentary Research at the University of South Wales. He works collaboratively as part of the artist group Common Culture and since 2017 with João Leal has been photographing modernist architecture in Europe.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":" 38","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135863971","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"<i>Secondhand Tang Poems</i> : Gazing at Passing Traditions","authors":"Dai Xiaoling","doi":"10.1080/17514517.2023.2246317","DOIUrl":"https://doi.org/10.1080/17514517.2023.2246317","url":null,"abstract":"AbstractMaleonn is a prominent photographer and artist of contemporary Chinese photography. Many of his photographic works, particularly the Secondhand Tang Poems series, offer valuable perspectives on how traditional Chinese poetic culture is integrated into contemporary digital photography. By analyzing the inspirations, compositions and framing of Secondhand Tang Poems, the study strives to present the extension, distortion, and reinterpretation of traditional Chinese poetry by the photographer, and these practices have allowed poems in the history to travel across time, confronting sociocultural issues in contemporary Chinese society.Keywords: MaleonnSecondhand Tang PoemsTang Dynasty poetryChinese photography NotesXiaoling Dai is a PGR at the School of Fine Art, History of Art and Cultural Studies, University of Leeds.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":"77 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135481176","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Mother, Photography, Reproduction: A Note on <i>Extreme Private Eros</i> : <i>Love Song 1974</i>","authors":"Miyabi Goto","doi":"10.1080/17514517.2023.2256534","DOIUrl":"https://doi.org/10.1080/17514517.2023.2256534","url":null,"abstract":"AbstractHara Kazuo’s seminal documentary film, Extreme Private Eros: Love Song 1974, actively disturbs presumed boundaries and, in so doing, foregrounds the centrality of performance in documentary filmmaking. While existing scholarship on this documentary focuses primarily on the moving images, in this essay I focus on a series of photographic images inserted in the beginning and examine the impact and workings of photography in the composition of this documentary. The opening photo-sequence proceeds to draw a narrative of the familial relationship existing in the past, facilitating our spectatorial understanding of the personal history of those who are involved in the making of this documentary. At the same time, the photography in the sequence casts its gaze upon us viewers, creating the sensation that we are the ones who are interrogated. As such, the photo-sequence calls on us, pushing us to form a personal relationship with what we see. I contend that the photography in this documentary film engenders a moment for a broader scale of reflection on our own precarity, irrelevance, and non-necessity in the world surrounding Extreme Private Eros.Keywords: PhotographydocumentaryreproductionmotherExtreme Private Eros AcknowledgmentsThe author wishes to express her gratitude to Yanie Fécu and Megan Sarno for their continued support and to two anonymous reviewers for their detailed, constructive comments.Disclosure statementThe author declares that s/he has no relevant interests that relate to what is presented in this article.NoteNotes1 Examples of documentaries laden with socio-political implications include Ogawa Shinsuke's Sanrizuka series and Tsuchimoto Noriaki's Minamata series.2 An example includes the close-up of Takeda's face filmed by Hara when they engage in sexual intercourse. According to Hara's reflection in Camera Obtrusa, the sequence came into being as per Takeda's request: \"I want to see what my face looks like while having sex, so I want you to film me\" (105–106).3 For this essay, I use a DVD version of the film distributed by Facets Video in 2017. All translations are my own, unless otherwise noted.4 Jun Okada's (Citation2018) study sheds light on the disconnect between local women in Okinawa and Takeda visiting from the mainland, calling the latter's feminist position “mis-guided” (183–186).5 I have in mind, for instance, Annmaria Shimabuku's (Citation2018) book Alegal for the geopolitical contextualization of Okinawa in the 1970s. For women's movements developing in Japan, I owe my understanding to Setsu Shigematsu's (Citation2012) book Scream from the Shadows and Ayako Kano's (Citation2016) Japanese Feminist Debates. Lucy Fischer's Cinematernity gives a helpful insight into genealogies of representations of mothers in (primarily Euro-Anglo-American) films. Book-length analyses of cinematic figurations of mothers in the Japanese context (and beyond) are much needed.6 Nakane Wakae's (Citation2016) work reminds us that Takeda and","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135480695","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Snapshots of Empire Games Journeys: The Vernacular Photography of Peter Heatly and the 1950 Scotland Team","authors":"Richard Haynes","doi":"10.1080/17514517.2023.2249367","DOIUrl":"https://doi.org/10.1080/17514517.2023.2249367","url":null,"abstract":"Sir Peter Heatly is a former Scottish diver who competed in three British Empire Games and one Olympic Games. On all his journeys to major competitions, he took personal photographs and kept published material and ephemera related to his trips, which were subsequently neatly stored in albums and scrapbooks, and, until 2018, were kept by his family when they deposited the personal archive to the University of Stirling. The vernacular photography of Heatly provides personal evidence of sport mega-events from the mid-twentieth century from an athlete’s perspective. It raises questions about the value of vernacular photography, family albums, and scrapbooks for interpreting and understanding the cultural historiography of sport and how much visual culture helps make sense of the cultures of international sport during the post-war period. The article provides some critical and analytical approaches to the use of such material, questioning the motivations for their original production and archiving, as well as recognizing such photographs are not simple documents of the past with unproblematic meanings but are contingent on specific “networks of authority” and open to contested meanings.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":"156 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135481177","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A Portfolio from the Series <i>Drift Alignment</i>","authors":"Andrew O’Brien","doi":"10.1080/17514517.2023.2256171","DOIUrl":"https://doi.org/10.1080/17514517.2023.2256171","url":null,"abstract":"AbstractThis portfolio and artist statement addresses the ongoing photographic series Drift Alignment, which explores the historical and contemporary conditions along the US-Mexico border. The work examines the legacy of Spanish colonization, US territorial expansion and contemporary migration with an emphasis on the various ways in which astronomy and celestial navigation have played a role in the evolution of the border region of southern Arizona.Keywords: migrationimmigrationastronomyUS-Mexico bordercelestial navigationlandscape Disclosure statementNo potential conflict of interest was reported by the author(s).Additional informationNotes on contributorsAndrew O’BrienNoteAndrew O’Brien is an Associate Professor in the Department of Art at the University of Tennessee at Chattanooga. O’Brien’s artistic practice draws from lived experience to examine the organization and perception of physical space—especially as it relates to landscape and the built environment. His work is informed by the history and symbolic potential of materials, as well as the shifting incarnations of the photographic image. Works range from experimental publications, to photographs, video, and installation. He has exhibited widely, including at the Houston Center for Photography, The Center for Fine Art Photography in Fort Collins, Colorado, the West Gallery at California State University Northridge, and the Art Museum of Northern Illinois University, among others. In 2021 O’Brien was named a Tennessee Arts Commission Individual Artist Fellow.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":"65 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135480678","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Rediscovering the Work of Sham Sundar Das: A Look at the Photographer’s Unrecognized Legacy","authors":"Ankana Sen, D. Mathew","doi":"10.1080/17514517.2023.2208450","DOIUrl":"https://doi.org/10.1080/17514517.2023.2208450","url":null,"abstract":"","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45051186","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}