(W)档案:档案想象、战争与当代艺术

IF 0.3 2区 艺术学 0 ART History of Photography Pub Date : 2021-04-03 DOI:10.1080/03087298.2021.2079234
Gary Bratchford
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引用次数: 0

摘要

也促成了1986年杂志的停刊。有趣的是,斯泰西在这一章的结尾对研究口述历史的学者可能熟悉的一个方法论问题进行了简短的思考。在参与者自己对这一时期的相互矛盾的描述中,Stacey写道,“确保这里提到的那些人的当代证词所需的参与程度是对HMPW和Camerawork破灭希望的隐喻”。虽然这些团体的胜利和成就很多,但参与者之间的冲突似乎具有持久的影响。在这本书的开头,斯泰西向她那些更有学术头脑的读者提出了一个警告。一些人们可能期望的典型学术出版物的元素,如文献评论,将作者的特定学术干预置于扩展的理论讨论中,一般没有出现在抗议和社区摄影中。斯泰西提醒我们,这样做的目的是让那些从事社会和政治斗争的学术界以外的人更容易理解这些文本。这一举动可以被看作是对Camerawork创始问题的一种自觉回应:“它是为谁服务?”与此同时,我发现自己有时希望至少能有一些更具分析性和理论性的综合,这可能有助于强调史黛西如此努力地重现的档案记录的历史意义。在围绕纪录片、新闻摄影和大众媒体的老生常谈的政治辩论中,“社区摄影”仍然是一个被忽视和缺乏理论的主题。斯泰西纠正了这一疏忽,她的介入对这一领域的学者来说肯定是不可或缺的资源。除此之外,我和Stacey一样希望这篇文章可以作为当代从事当地争取自由和解放的政治斗争的活动家摄影师的历史资源,因为在这样的斗争中,我们必须从任何我们可以找到的地方汲取力量。
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(W)Archives: Archival Imaginaries, War and Contemporary Art
also contributed to the journal’s end in 1986. Interestingly, Stacey concludes the chapter with a brief meditation on a methodological problem likely familiar to scholars working with oral histories. Of the conflicting accounts of this period generated by the participants themselves, Stacey writes, ‘The level of engagement needed to secure the contemporary testimonies of those mentioned here is a metaphor for dashed hopes in HMPW and Camerawork’. While the triumphs and accomplishments of these groups were many, the conflicts between participants themselves, it would seem, had lasting effects. Near the book’s beginning, Stacey offers her more academically minded readers a note of caution. Some of the elements one might expect of a typical academic publication, such as literature reviews that situate an author’s particular scholarly intervention within extended theoretical discussions, are in general not present in Photography of Protest and Community. This is intended, Stacey alerts us, to make the text more accessible to those outside the academy, perhaps engaged in social and political struggle of their own. The gesture can be viewed as a self-conscious echo of Camerawork’s founding question, ‘Who is it for?’ At the same time, I found myself wishing at moments for at least some of the more analytical and theoretical synthesis that might help underscore the historical significance of the archival record Stacey so diligently recreates. Among the well-trodden political debates surrounding documentary, photojournalism and the mass media, ‘community photography’ has remained an overlooked and undertheorised subject. Stacey corrects this oversight with an intervention that is sure to be an indispensable resource for scholars in this area. Beyond this, I share Stacey’s hope that this text might serve as an historical resource for current-day activist photographers engaged in local political struggles for freedom and liberation, for in such struggles we must draw strength from wherever we may find it.
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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.
期刊最新文献
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