反侦查、摄影与爱尔兰独立战争中的革命

IF 0.3 2区 艺术学 0 ART History of Photography Pub Date : 2021-10-02 DOI:10.1080/03087298.2022.2118452
Orla Fitzpatrick
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引用次数: 0

摘要

本文考察了爱尔兰共和军在爱尔兰独立战争期间编制的一本摄影集。爱尔兰独立战争是1919年至1921年爱尔兰共和军与英国军队以及准军事化的爱尔兰皇家警察在爱尔兰进行的游击斗争。他们使用的技术和监视手段与英国政府和爱尔兰警察部队使用的技术和监视手段类似,使该组织的情报小组能够追踪敌人的行动。所描绘的人受到监视,有时被定为消灭的目标,从而使这些照片证据对国家及其代表不利。这篇文章基于证人陈述、回忆录和议会记录,从而揭示了摄影在对抗大英帝国的情报战中的重要性。最初为家庭或职业用途拍摄的工作室肖像,反映社会事件的剪报,以及秘密拍摄的快照,都与详细描述被摄者日常生活的手写笔记相结合。这张专辑的多种形式构成了一种冲突摄影,不同于通常对废墟和袭击的描绘,这些描绘在爱尔兰革命时期占主导地位。
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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.
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来源期刊
CiteScore
0.30
自引率
50.00%
发文量
23
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.
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