{"title":"“就像我们”:迁徙、摄影和视觉结合","authors":"Alison V. Dean","doi":"10.1080/17540763.2021.1877791","DOIUrl":null,"url":null,"abstract":"This article considers how the relatively new genre of migrant photography, “the migrant selfie,” fits into the larger visual history of migrancy. From early UNHCR photography to contemporary representations of migration in the news and visual art, this paper traces the visual image of the migrant over time. It then draws on this history to contextualize selfies featured in Tomas van Houtryve’s (2016–2017) video installation, Traces of Exile.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":"14 1","pages":"307 - 330"},"PeriodicalIF":0.0000,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17540763.2021.1877791","citationCount":"0","resultStr":"{\"title\":\"“Just like us”: migrancy, photography, and visual incorporation\",\"authors\":\"Alison V. Dean\",\"doi\":\"10.1080/17540763.2021.1877791\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"This article considers how the relatively new genre of migrant photography, “the migrant selfie,” fits into the larger visual history of migrancy. From early UNHCR photography to contemporary representations of migration in the news and visual art, this paper traces the visual image of the migrant over time. It then draws on this history to contextualize selfies featured in Tomas van Houtryve’s (2016–2017) video installation, Traces of Exile.\",\"PeriodicalId\":39970,\"journal\":{\"name\":\"Photographies\",\"volume\":\"14 1\",\"pages\":\"307 - 330\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2021-05-04\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"https://sci-hub-pdf.com/10.1080/17540763.2021.1877791\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Photographies\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/17540763.2021.1877791\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Photographies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/17540763.2021.1877791","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
摘要
本文探讨了相对较新的移民摄影流派“移民自拍”如何融入移民的更大视觉历史。从早期的难民署摄影到新闻和视觉艺术中对移民的当代表现，本文追溯了移民随时间的视觉形象。然后，它利用这段历史，将托马斯·范·胡特里夫（Tomas van Houtryve，2016-2017）的视频装置《流放的痕迹》中的自拍置于背景中。
“Just like us”: migrancy, photography, and visual incorporation
This article considers how the relatively new genre of migrant photography, “the migrant selfie,” fits into the larger visual history of migrancy. From early UNHCR photography to contemporary representations of migration in the news and visual art, this paper traces the visual image of the migrant over time. It then draws on this history to contextualize selfies featured in Tomas van Houtryve’s (2016–2017) video installation, Traces of Exile.
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