{"title":"反侦查、摄影与爱尔兰独立战争中的革命","authors":"Orla Fitzpatrick","doi":"10.1080/03087298.2022.2118452","DOIUrl":null,"url":null,"abstract":"This article examines a photographic album compiled by an Irish Republican Army unit during the Irish War of Independence, a guerrilla struggle fought in Ireland from 1919 to 1921 between the Irish Republican Army and the British Army, along with the quasi-military Royal Irish Constabulary. The employment of techniques and surveillance methods similar to those of the British state and police forces in Ireland enabled the group’s intelligence squad to track the movements of their enemies. Those depicted were monitored and sometimes targeted for elimination, thus turning this photographic evidence against the state and its representatives. The article is based on witness statements, memoirs and parliamentary proceedings, thus revealing the importance of photography in the intelligence war against the British Empire. Studio portraits originally taken for familial or occupational uses, newspaper cuttings reflecting society events and covertly taken snapshots were triangulated with handwritten notes detailing the daily routines of those pictured. The album’s multiplicity of formats constitutes a type of conflict photography that differs from the usual depictions of ruins and raids that dominated imagery of the Irish revolutionary period.","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"45 1","pages":"292 - 303"},"PeriodicalIF":0.3000,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Countersurveillance, Photography and Revolution in the Irish War of Independence\",\"authors\":\"Orla Fitzpatrick\",\"doi\":\"10.1080/03087298.2022.2118452\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"This article examines a photographic album compiled by an Irish Republican Army unit during the Irish War of Independence, a guerrilla struggle fought in Ireland from 1919 to 1921 between the Irish Republican Army and the British Army, along with the quasi-military Royal Irish Constabulary. The employment of techniques and surveillance methods similar to those of the British state and police forces in Ireland enabled the group’s intelligence squad to track the movements of their enemies. Those depicted were monitored and sometimes targeted for elimination, thus turning this photographic evidence against the state and its representatives. The article is based on witness statements, memoirs and parliamentary proceedings, thus revealing the importance of photography in the intelligence war against the British Empire. Studio portraits originally taken for familial or occupational uses, newspaper cuttings reflecting society events and covertly taken snapshots were triangulated with handwritten notes detailing the daily routines of those pictured. The album’s multiplicity of formats constitutes a type of conflict photography that differs from the usual depictions of ruins and raids that dominated imagery of the Irish revolutionary period.\",\"PeriodicalId\":13024,\"journal\":{\"name\":\"History of Photography\",\"volume\":\"45 1\",\"pages\":\"292 - 303\"},\"PeriodicalIF\":0.3000,\"publicationDate\":\"2021-10-02\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"History of Photography\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/03087298.2022.2118452\",\"RegionNum\":2,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"ART\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"History of Photography","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/03087298.2022.2118452","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ART","Score":null,"Total":0}
Countersurveillance, Photography and Revolution in the Irish War of Independence
This article examines a photographic album compiled by an Irish Republican Army unit during the Irish War of Independence, a guerrilla struggle fought in Ireland from 1919 to 1921 between the Irish Republican Army and the British Army, along with the quasi-military Royal Irish Constabulary. The employment of techniques and surveillance methods similar to those of the British state and police forces in Ireland enabled the group’s intelligence squad to track the movements of their enemies. Those depicted were monitored and sometimes targeted for elimination, thus turning this photographic evidence against the state and its representatives. The article is based on witness statements, memoirs and parliamentary proceedings, thus revealing the importance of photography in the intelligence war against the British Empire. Studio portraits originally taken for familial or occupational uses, newspaper cuttings reflecting society events and covertly taken snapshots were triangulated with handwritten notes detailing the daily routines of those pictured. The album’s multiplicity of formats constitutes a type of conflict photography that differs from the usual depictions of ruins and raids that dominated imagery of the Irish revolutionary period.
期刊介绍:
History of Photography is an international quarterly devoted to the history, practice and theory of photography. It intends to address all aspects of the medium, treating the processes, circulation, functions, and reception of photography in all its aspects, including documentary, popular and polemical work as well as fine art photography. The goal of the journal is to be inclusive and interdisciplinary in nature, welcoming all scholarly approaches, whether archival, historical, art historical, anthropological, sociological or theoretical. It is intended also to embrace world photography, ranging from Europe and the Americas to the Far East.