Pub Date : 2021-07-03DOI: 10.1080/17514517.2021.1927368
D. W. Brett
Abstract In March 1942, the Director of British Naval Intelligence, Admiral John Godfrey made a public appeal via the BBC Radio. Godfrey requested listeners to send in holiday photographs and postcards of Europe, particularly places of potential military interest. Over 80,000 people responded with holiday snaps forming a comprehensive library that by 1944 totaled ten million images. Relevant photographs garnered from the public for Operation Overlord were incorporated into military briefing materials, along with maps and zero-elevation aerial photographs, then issued to assault troops in preparation for the invasion of France in June 1944. While the material was largely returned to the British public, over 750,000 images were reproduced and remain in British archives. Over seventy years later, German photographer Simon Menner accessed the Imperial War Museum archive to digitize part of the collection for a photographic project that was not fully realized. This article considers Menner’s engagement with these records as a means by which this obscure national achievement has come to light beyond military history research. It also foregrounds the tension between political conflict surrounding digitization of declassified state and vernacular material, and Menner’s photographic intervention as a protagonist in the ongoing efforts to access formerly secret or confidential government material.
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Pub Date : 2021-04-29DOI: 10.1080/17514517.2021.1901451
Nathaniel Brunt, S. Farooq
Since the partition of the Indian subcontinent in 1947, Kashmir has become one of the most militarized regions in the world and the site of multiple wars between India and Pakistan. In 1988 the tensions in the region entered a new phase, when long-simmering discontentment amongst the Kashmiri population led to a popular and armed uprising against Indian control of the region. Out of this revolt a myriad of sometimes competing anti-state militant groups emerged seeking nationhood or merger with Pakistan. The subsequent asymmetric conflict continues to this day and has resulted in nearly 70,000 deaths and numerous human rights violations, including thousands of enforced disappearances. In addition to the corporeal and psychological toll caused by the ongoing conflict, the systematic destruction of both private and organizational collections of documents related to the war by the state has left a large lacuna in the historical record of the conflict and the remaining fragments of material scattered across a variety of private holdings. In contemporary Kashmir, institutional photographic archives preserving the history of the conflict do not exist and archival efforts continue to be suppressed due to the ongoing political issues in the region. More broadly, information blockades including internet shutdowns and limitations on the press are common in Kashmir and the population’s access to information is often heavily curtailed. In this absence, organizations and individuals have often filled the evidential void by collecting diverse forms of historical material, clandestinely preserving it, and disseminating it to the public. One of the few, and among the most notable, of these archives is the personal photographic collection of political activist Shakeel Bakshi (Figure 1). Throughout the 1990s Bakshi led or worked within various Kashmiri pro-separatist organizations including the Islamic Student League and the Jammu and Kashmir Liberation Front (Figure 2). Simultaneously he founded the Kashmir Press Agency which, along with media units with the various political and militant organizations, produced and collected a large body of conflict documentation including photographs, videos, and human rights testimony (Figure 3). However, by the mid to late 1990s, as Indian security forces and local proxies increasingly gained control over the situation on the ground, much of this material was confiscated or actively destroyed during raids (Figure 4). As a result, much of the surviving documentation
{"title":"The Kashmir Conflict Archive","authors":"Nathaniel Brunt, S. Farooq","doi":"10.1080/17514517.2021.1901451","DOIUrl":"https://doi.org/10.1080/17514517.2021.1901451","url":null,"abstract":"Since the partition of the Indian subcontinent in 1947, Kashmir has become one of the most militarized regions in the world and the site of multiple wars between India and Pakistan. In 1988 the tensions in the region entered a new phase, when long-simmering discontentment amongst the Kashmiri population led to a popular and armed uprising against Indian control of the region. Out of this revolt a myriad of sometimes competing anti-state militant groups emerged seeking nationhood or merger with Pakistan. The subsequent asymmetric conflict continues to this day and has resulted in nearly 70,000 deaths and numerous human rights violations, including thousands of enforced disappearances. In addition to the corporeal and psychological toll caused by the ongoing conflict, the systematic destruction of both private and organizational collections of documents related to the war by the state has left a large lacuna in the historical record of the conflict and the remaining fragments of material scattered across a variety of private holdings. In contemporary Kashmir, institutional photographic archives preserving the history of the conflict do not exist and archival efforts continue to be suppressed due to the ongoing political issues in the region. More broadly, information blockades including internet shutdowns and limitations on the press are common in Kashmir and the population’s access to information is often heavily curtailed. In this absence, organizations and individuals have often filled the evidential void by collecting diverse forms of historical material, clandestinely preserving it, and disseminating it to the public. One of the few, and among the most notable, of these archives is the personal photographic collection of political activist Shakeel Bakshi (Figure 1). Throughout the 1990s Bakshi led or worked within various Kashmiri pro-separatist organizations including the Islamic Student League and the Jammu and Kashmir Liberation Front (Figure 2). Simultaneously he founded the Kashmir Press Agency which, along with media units with the various political and militant organizations, produced and collected a large body of conflict documentation including photographs, videos, and human rights testimony (Figure 3). However, by the mid to late 1990s, as Indian security forces and local proxies increasingly gained control over the situation on the ground, much of this material was confiscated or actively destroyed during raids (Figure 4). As a result, much of the surviving documentation","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":"14 1","pages":"469 - 481"},"PeriodicalIF":0.3,"publicationDate":"2021-04-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17514517.2021.1901451","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47724123","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}
Pub Date : 2021-04-26DOI: 10.1080/17514517.2021.1920178
Sabina Mlodzianowski, Lisa Moravec, Helen Lewandowski
Along with Eadweard Muybridge and Etienne-Jules Marey, Ottomar Ansch€utz was one of the most important practitioners of late nineteenthcentury chronophotography. Although his work remains woefully overlooked, Ansch€utz invented the electric Schnellseher (Electrotachyscope) and thus significantly contributed to the technical history of cinematography. A considerable part of his photographic work is devoted to the depiction of animals, including around 1,500 photographs housed in the archive of Berlin University of the Arts. When Ansch€utz presented his first instantaneous photographs in 1883-4 in Berlin, the technological advancement of his images was striking in contrast to Muybridge’s early photography from 1878-79. While Muybridge depicts the horse and rider as dark silhouettes on the picture plane, in Ansch€utz’s images the bodily movement and anatomy appear in full clarity and splendor. Many of his contemporaries within the arts and sciences praised the strong impression his lively images exuded. This became possible through a new precision of depiction—the use of extremely light-sensitive gelatin dry plates in combination with Ansch€utz’s invention of the rouleau-shutter, which he located directly in front of the photographic plate. Compared to his contemporaries’ photographs, Ottomar Ansch€utz’s images generate the illusion of spatial freedom, which leaps over to the depicted object. Instead of a narrow stage and a black background, there is a vast expanse of light, an atmospheric landscape reminiscent of Leonardo da Vinci’s famous sfumato technique. The deliberate dissolution of what is
{"title":"Ottomar Anschütz’s Animal Photography through the Lens of Darwinism","authors":"Sabina Mlodzianowski, Lisa Moravec, Helen Lewandowski","doi":"10.1080/17514517.2021.1920178","DOIUrl":"https://doi.org/10.1080/17514517.2021.1920178","url":null,"abstract":"Along with Eadweard Muybridge and Etienne-Jules Marey, Ottomar Ansch€utz was one of the most important practitioners of late nineteenthcentury chronophotography. Although his work remains woefully overlooked, Ansch€utz invented the electric Schnellseher (Electrotachyscope) and thus significantly contributed to the technical history of cinematography. A considerable part of his photographic work is devoted to the depiction of animals, including around 1,500 photographs housed in the archive of Berlin University of the Arts. When Ansch€utz presented his first instantaneous photographs in 1883-4 in Berlin, the technological advancement of his images was striking in contrast to Muybridge’s early photography from 1878-79. While Muybridge depicts the horse and rider as dark silhouettes on the picture plane, in Ansch€utz’s images the bodily movement and anatomy appear in full clarity and splendor. Many of his contemporaries within the arts and sciences praised the strong impression his lively images exuded. This became possible through a new precision of depiction—the use of extremely light-sensitive gelatin dry plates in combination with Ansch€utz’s invention of the rouleau-shutter, which he located directly in front of the photographic plate. Compared to his contemporaries’ photographs, Ottomar Ansch€utz’s images generate the illusion of spatial freedom, which leaps over to the depicted object. Instead of a narrow stage and a black background, there is a vast expanse of light, an atmospheric landscape reminiscent of Leonardo da Vinci’s famous sfumato technique. The deliberate dissolution of what is","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":"14 1","pages":"159 - 172"},"PeriodicalIF":0.3,"publicationDate":"2021-04-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17514517.2021.1920178","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41693731","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}
Pub Date : 2021-04-13DOI: 10.1080/17514517.2021.1903244
(2021). From the Editors. Photography and Culture: Vol. 14, No. 1, pp. 1-3.
(2021)。来自编辑。《摄影与文化》第14卷第1期第1-3页。
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Pub Date : 2021-04-03DOI: 10.1080/17514517.2021.1879457
J. Stallabrass
Abstract This article, centered on the experience of photographing the sky during the COVID-19 pandemic, examines photographic history, the metaphorical associations of skies and clouds, and the photography of contrails. It contains an account of Alfred Stieglitz’s “Equivalents” which are used to contrast with the current situation of sky photography, in particular analyzing his framing, manipulation, and expressive symbolism, alongside nationalist readings of his images. Monochrome images of the sky are juxtaposed to an account of the varying associations of the color blue, drawing on the work of Derek Jarman. Nineteenth century views of the sky and the sublime are also discussed, including the work of John Ruskin and Edmund Burke, to suggest that current environmental peril undercuts the sublime effect. The article is illustrated with photographs from the sequence ‘Corona Equivalents’ made by the author.
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Pub Date : 2021-04-03DOI: 10.1080/17514517.2021.1925006
Helen Lewandowski, Lisa Moravec
Photography & Culture ’ s special issue “ Humanism after the Human ” engages with posthumanist theories to reconsider critiques of liberal humanism. The authors analyze a selection of nineteenth-century, mid-twentieth-century, and contemporary photography to challenge both a universalizing and glorifying liberal humanism that equates social with economic progress, as well as disembodied posthuman visions. Concerned with questions of what counts as human, non-human, and technological agency, the essays reinforce the importance of imagining alternatives to capitalism ’ s particularizing and objectifying norms. “ Humanism after the Human ” asks: how can we, as humans, realistically but differently interact with our natural, animal, and technological environment that we appro-priate and thereby co-produce? What roles do the artistic medium of photography and photographic images play in critiquing hegemonic humanist practices? And, how can contemporary posthumanist visions and photographic technologies resist subsummation by capitalist reproduction of liberal humanist values? issue
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Pub Date : 2021-03-19DOI: 10.1080/17514517.2021.1889127
Marie-Luise Kesting
Abstract This essay considers human and nonhuman well-being, looking through a culturally-engaged visual analysis of three different groups of photographic images depicting planet earth seemingly in quarantine that were shared widely on social media during the lockdown imposed in many countries due to the Corona pandemic and that seemed to be in a (subconscious) dialogue with each other. They consist of 1. empty city spaces, 2. the proclaimed return of ‘wildlife’ (e.g., the fake images of dolphins in Venetian canals), and 3. satellite images of improved air and water quality. Drawing on Walter Benjamin’s Short History of Photography and Eugène Atget’s works in comparison to current photographs, it examines why certain images proliferate and what type of narratives, for example, of ‘healing’ the environmental crisis, they may propose.
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Pub Date : 2021-03-19DOI: 10.1080/17514517.2021.1889121
E. Payet
Abstract The First Gulf War (1990–1991) is typically remembered as a virtual, video-game war, in which close to no pictures of human bodies were seen. In its aftermath, images of the devastating Kuwaiti oil fields’ fires were frequently described as visions of apocalypse, conjuring a posthuman world. Some Gulf War photographs depicting oil damage, among which those taken by Steve McCurry, Bruno Barbey and Sebastião Salgado, feature animals from soiled sea birds to horses and camels irretrievably lost in the polluted desert. This article, by focusing notably on three photographs by Salgado as published in his 2016 book Kuwait: a Desert on Fire, proposes a close observation of those easily overlooked pictures, to question the hegemonic understanding of the Gulf War as a “war without bodies” (Sekula). On the contrary, using notably the philosophy of Jacques Derrida, I will argue that the animals’ bodies, and specifically their liminal character akin to ghosts and zombies, convey the damage wreaked by this war, not in terms of battle casualties, but rather of its wider environmental damage. The belated publication of Salgado’s Kuwait: a Desert on Fire and the relationship of that timing with the evolution of the visual representation of climate change will thus be examined.
第一次海湾战争(1990-1991)通常被认为是一场虚拟的、电子游戏式的战争，在这场战争中几乎看不到任何人体图片。在灾难之后，毁灭性的科威特油田大火的画面经常被描述为世界末日的景象，让人联想到一个后人类的世界。海湾战争期间，史蒂夫·麦柯里、布鲁诺·巴贝和塞巴斯蒂安·奥·萨尔加多拍摄了一些描绘石油破坏的照片，其中包括从被污染的海鸟到在污染的沙漠中无可挽回地消失的马和骆驼等动物。本文主要关注Salgado在其2016年出版的《科威特:燃烧的沙漠》(Kuwait: a Desert on Fire)中的三张照片，对这些容易被忽视的照片进行仔细观察，质疑对海湾战争的霸权理解，即“没有尸体的战争”(Sekula)。相反，我将引用雅克·德里达(Jacques Derrida)的哲学，认为动物的身体，特别是它们类似于鬼魂和僵尸的模糊特征，传达了这场战争造成的破坏，而不是战斗伤亡，而是更广泛的环境破坏。萨尔加多的《科威特:燃烧的沙漠》姗姗来迟的出版，以及这个时间点与气候变化的视觉表现演变的关系，将因此得到检验。
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Pub Date : 2021-03-16DOI: 10.1080/17514517.2021.1890919
J. Peck
Abstract The Prix Pictet is a photography prize focussing on sustainability. Anthropocentric in its world-view, the prize was endorsed and supported by Kofi Annan, who until 2006 was the Secretary-General of the United Nations. This article argues three points. Firstly, that the Prix Pictet’s model of sustainability is anthropocentric and produces a framework in which myriad inequalities in human relationships become representable. The prize as a symptom of the contradictions created through neoliberalism will be analysed, particularly as the prize celebrates the commodification of art whilst also enabling the articulation of concern about people and environment. This produces the second argument, where the prize is seen as symptomatic of a neoliberal economy that both offers opportunities for artists to express concern about social, economic and environmental inequalities, whilst also ‘greenwashing’ sustainable investments. Thirdly, I will argue that, photography’s ambiguity occasionally escapes the anthropocentric framework, leading to other possible interpretations. The Prix Pictet, then, mainly represents a human-centric view, and this is reproduced at the expense of nature-human-technology frameworks. However, close readings of some of the shortlisted projects see eco-centric and posthuman sensibilities emerging.
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Pub Date : 2021-02-18DOI: 10.1080/17514517.2021.1884327
Alexis Romano
Abstract This short article examines a photograph in a 1956 catalogue for the French department store Galeries Lafayette in the context of the country’s postwar modernization, Paris renovations and the development of the readymade garment industry. It relates the production of image to the construction and dissemination of fashion and femininity in the print media. In particular, it notes how the use of changing technologies in image production, notably Kodachrome color film, shaped and exposed these constructions. Drawing on the notion of myth, as formulated by Roland Barthes, this article asks how the image spoke to modernity’s inherent contradictions, notably between old and new, in its depiction of bodies, plastic and synthetic fabric. Finally, it shows why this was particularly relevant in the culture of postwar France.
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