History of Photography最新文献

{"title":"A Death Squad Dossier: Counterrevolutionary Policing, Photographs of Disappearing Identities and Evidentiary Aesthetics in Postwar Guatemala","authors":"J. Mazariegos","doi":"10.1080/03087298.2022.2118435","DOIUrl":"https://doi.org/10.1080/03087298.2022.2118435","url":null,"abstract":"This article is concerned with photographic images and identity photographs utilised for military counterinsurgent policing in Guatemala City during the civil war (1960–96), in the context of Latin America’s Cold War. The article explores the historical conditions that made militarised policing and its photographic record possible in Guatemala, focusing on a dossier produced in the early 1980s known as Diario Militar. The article pays attention to aesthetic and evidentiary regimes that rely on the indexical force of photographs under circumstances in which indexicality fails. In doing so, it elaborates on counterrevolutionary policing as a way of seeing and not being seen, producing photographic images that at once identify political subjects and attempt to disappear their identities, and how these photographic imaginaries are being re-signified in contemporary struggles for justice in postwar Guatemala.","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"45 1","pages":"351 - 362"},"PeriodicalIF":0.2,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47674603","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"‘All we see is dots’: Aerial Objectivity and Mass Surveillance in Baltimore","authors":"Benjamin D. H. Snyder","doi":"10.1080/03087298.2022.2108263","DOIUrl":"https://doi.org/10.1080/03087298.2022.2108263","url":null,"abstract":"In 2020, the Baltimore Police Department used aerial surveillance camera technology, dubbed the ‘spy plane’, that recorded the movements of nearly every citizen from above. Based on direct observation inside the programme’s operations centre, this article shows how a ‘grainy truth’ aesthetic, created by engineers to combat criticisms of the programme’s invasiveness, also influenced the actual labour of surveillance. An obsession in the public debate and within the operations centre about how the imagery looks, however, overshadowed the most worrisome aspect of the programme: its infrastructure of representation. City officials are now saddled with managing a massive database of citizen location data owned by a private company, prompting difficult questions about the privatisation of policing.","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"45 1","pages":"376 - 387"},"PeriodicalIF":0.2,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44847385","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Bertillon, Ravachol and the Explosive Potential of Police Portraiture","authors":"Zeynep Devrim Gürsel","doi":"10.1080/03087298.2021.2145708","DOIUrl":"https://doi.org/10.1080/03087298.2021.2145708","url":null,"abstract":"Alphonse Bertillon’s system of identification has taken a place in the canon of photographic history ever since several key texts published in the 1980s demanded scholarly attention to repressive as well as honorific portraits. This article focuses on Bertillon’s most spectacular accomplishment, which resulted in the worldwide adoption of his techniques: the 1892 arrest and identification of the famed anarchist Ravachol. Ravachol’s identification became a highly publicised struggle over the image of both the state and the anarchist during the height of anarchism in Europe.","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"45 1","pages":"245 - 263"},"PeriodicalIF":0.2,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42127237","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Arresting Optics: Black Femme Witnessing in Protest Photojournalism and the Anti-Black Techniques of Police Vision","authors":"Christina Aushana, Tara-Lynne Pixley","doi":"10.1080/03087298.2022.2122239","DOIUrl":"https://doi.org/10.1080/03087298.2022.2122239","url":null,"abstract":"In this article, we animate the interstitial practices shared by photojournalists and police officers, and sketch some of the stakes for visual practitioners ‘bearing witness while black’. We employ visual analyses of protest images by Black photographers while tracing the specific visual techniques of oversight mobilised by law enforcement. These include police departments’ co-optation of news images to identify and criminalise racial justice protesters alongside efforts to professionalise police officers into photographers. We theorise the anti-Black intersections shared across these expansive formations – policing and photojournalism – in an effort to account for the ways in which both systems maintain and invest in damaging visualities that shape consequences ‘on the ground’ for Black and brown communities.","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"45 1","pages":"399 - 410"},"PeriodicalIF":0.2,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49570639","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Somebody’s – Or Nothing: Visual Evidence, Blackness and the Limits of Legal Seeing","authors":"LaCharles Ward","doi":"10.1080/03087298.2022.2138166","DOIUrl":"https://doi.org/10.1080/03087298.2022.2138166","url":null,"abstract":"Why does visual evidence, when in defence of Black people, always fail to meet the proper evidentiary standards? This article suggests that one part of an answer to this question might be found in early legal debates about how to deal with ‘evidence’ that photography allegedly proffers to the trier of fact. These debates revealed how the introduction of visual culture in the courtroom challenged a legal culture that hinged on the spoken and written word. Likewise, it also marked the beginning of an unstable legal discourse on visual evidence that continues to shape our present-day understanding of evidence and how we have come to see and interpret visual evidence. The argument advanced here, then, is that this legal seeing—refracted by and through whiteness and foundationally anti-Black—is the ideological filter through which the public have been conditioned to make sense of visual evidence of anti-Black violence and death. Finally, the article turns to the work of Carrie Mae Weems to claim that Black people, through a multitude of practices, continue to construct alternative forms of visual evidence that challenge law’s stronghold on what counts as evidentiary.","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"45 1","pages":"363 - 375"},"PeriodicalIF":0.2,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45745980","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Ungovernable Eye: Photography, Colonial Governmentality and Irish Insurgency","authors":"Justin Carville","doi":"10.1080/03087298.2022.2113621","DOIUrl":"https://doi.org/10.1080/03087298.2022.2113621","url":null,"abstract":"Framing photography and policing through Michael Foucault’s concept of counter-conducts in his writings on governmentality, this article discusses photography’s provocations within colonial governmentality of the Irish insurgent movements of the mid nineteenth century. In 1866, British authorities legislated for suspension of habeas corpus in response to what they identified as the Fenian threat to the ideals of the modern liberal state. Fenian insurgency was not just an anti-colonial movement but an asymmetrical political fraternity with a trans-Atlantic membership that included retired American Civil War veterans. Mobilised for the identification and surveillance of Fenians traversing across the Atlantic and the Irish Sea, photography was used to arrest the likenesses of individuals whose mobility threatened the security of the state and its colonies. In this process, the photograph’s mass reproducibility and mobility as a material image-object was pressed into action to identify suspected insurgents. Exploring the entwined histories of photography, policing and the Fenian Irish, the article discusses how photography simultaneously contributed to and undermined colonial governmentality.","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"45 1","pages":"217 - 230"},"PeriodicalIF":0.2,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42374798","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Visualising Order: Photography and the Production of the Colonial Police in India","authors":"Mira Rai Waits","doi":"10.1080/03087298.2022.2113220","DOIUrl":"https://doi.org/10.1080/03087298.2022.2113220","url":null,"abstract":"Stationed in cities, towns and villages across the Indian subcontinent, the colonial police were a ubiquitous presence under the British Raj. Visuality was central to the policing project; the police’s effectiveness was predicated on colonial subjects’ recognition of police authority. Photographs of policepersons and police buildings, appearing in manuals, histories and memoirs, private albums, imperial educational propaganda and on postcards, testify to the pervasiveness of the policing institution within the colonial landscape and the institution’s commitment to visuality. The sheer volume of these photographs invites consideration. While existing scholarship on the colonial police and photography has largely focused on how the police harnessed the medium in their efforts to visualise colonial criminals, this article considers photography as a means of producing the police to make legible the imperial social order. Various photographs of policepersons and police buildings – mundane and propagandistic images when considered within the broader history of colonial Indian photography – index imperial interactions, revealing the visual language the police relied on to assert their authority.","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"83 1","pages":"278 - 291"},"PeriodicalIF":0.2,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41282825","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Feminist In/Visibilities: Questions of Consent when Policing Domestic Violence with Photographic Evidence","authors":"Beth A. Uzwiak","doi":"10.1080/03087298.2022.2105550","DOIUrl":"https://doi.org/10.1080/03087298.2022.2105550","url":null,"abstract":"US feminist grassroots organising of the 1960s positioned its critique of domestic violence within a social analysis of class, race, sexuality and gender. In subsequent decades, feminist organising largely shifted to service provision which brought collusion with state entities and police in the quest to criminalise domestic violence. Criminalisation introduced a demand for corroborative evidence including the use of photographs to ‘prove’ violence as enacted on victims’ bodies. Through a consideration of the history of domestic violence photography and ethnographic data gathered with women residing in a domestic violence shelter, I explore how domestic violence photographs can reinforce entrenched gendered and racialised inequities and engender new ones. In many states, evidence-based prosecution does not rely on victim testimony and can be used without the consent of the harmed person. Rather than simply a mechanism of state control, however, the meaning and utility of evidentiary photographs remain unstable. Ethnographic data suggest that photographs and videos of domestic violence reverberate within and beyond the logics of state violence. I argue that photographic consent emerges as a vector to consider alternatives to criminal prosecution via policing.","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"45 1","pages":"388 - 398"},"PeriodicalIF":0.2,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48506979","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Performing Violence, Displaying Evidence: Photographs of Criminals and Political Inmates in Qajar Iran (1860s–1910s)","authors":"Elahe Helbig","doi":"10.1080/03087298.2022.2113246","DOIUrl":"https://doi.org/10.1080/03087298.2022.2113246","url":null,"abstract":"This article examines prisoner photography in Qajar Iran encompassing images not only of criminals but also of religious apostates and political opponents, taken in an institutional framework between the 1860s and the 1910s. The article sheds light on the use of photography as a technology of violence by the Qajar autocracy in the late nineteenth century and its use as a technology of evidence following the police reforms in the early twentieth century. Frequently used prior to imminent execution, photographs of prisoners became a ritual within the violent regime: a performative act associated with death and dying. Thus, prisoner photography correlated with the earlier body-centred forms of chastisement and torture in Qajar society  that were abounded from the public spaces after several penal reforms. It was only in the wake of the broad-reaching police reforms in the 1910s that a universal system of judicial photography as instructed by Alphonse Bertillon was established, epitomising the ostensive aspects of the global mobility and circulation of technologies, methods and expertise. Thus, the practice of photographing prisoners lays bare unique insights into the judicial and penal systems of Qajar Iran and their ensuing transformation as part of modernisation and the formation of nation-building.","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"45 1","pages":"264 - 277"},"PeriodicalIF":0.2,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59618851","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Photography and Policing, a Special Issue of History of Photography","authors":"Zeynep Devrim Gürsel, Jason E. Hill","doi":"10.1080/03087298.2021.2144424","DOIUrl":"https://doi.org/10.1080/03087298.2021.2144424","url":null,"abstract":"Over the more than two-year course of developing and finalising this special issue, we have steadily considered the valences of Lorena Rizzo’s 2013 epigrammatic characterisation of police photography’s cultural force, in its power to both invite and hold our attention by its generic sensational verve – we are captivated – and, in the same instant, and not seldom as a function of the latter, to punitively frame the limits of our critical inquiry if not indeed our liberty – we are made captive. Only now that all articles are assembled and the issue is ready for press does a third valence fully assert itself: ‘time and again’ the logic of police photography – the logic of the assemblage police/photography – can only be understood in its distinct and local operational temporalities and repetitions, both in the unfolding and echoing moments of their articulation, and in our historical measure of the same. Much has been made of policing’s distinctive temporality, its ‘split second’, as it is made an instrument of police work and as it might lend itself to oppositional, ameliorative counter-forensic inquiry. Eyal Weizman and Matthew Fuller have recently described this brief instant, how it might contain the police officer’s autoexonerating ‘split-second decision’, or the police or press photographer’s incriminating split-second exposure, as policing’s ‘temporal state of exception’, where nothing can be certain and all is potentially a threat and where, accordingly, the most terrible violations can be judicially sanctioned. As we will so often find in the pages that follow, police photography, from the crime scene photograph to the mug shot to the ‘police beat’ news photograph, is perhaps ontologically anchored in this abbreviated and speculative temporality of the instant, where the medium’s compressed temporal frame is made a feature, wherein everything and everyone is established as suspect and no alibi or reasoned defence might be heard. It is our hope, in this issue, to pry open some photographic instances – from Dublin, Seychelles and Mauritius, Paris and Tehran in the nineteenth century, to Bombay, Guatemala City, Kansas City and New Jersey, in the twentieth century, to Philadelphia, Baltimore and Los Angeles in the twenty-first century – so that we might better understand the logic of the complex events these images aspire to distil. Our aim is to better understand the dynamics of these two seemingly kindred and conjoined technological, political and historical formations – police and photography. We were often reminded by colleagues in the period of this project’s development that it was a timely one. The political stakes of reflecting on policing as Emails for correspondence: z.gursel@rutgers.edu, jehill@udel.edu","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"45 1","pages":"211 - 216"},"PeriodicalIF":0.2,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48227712","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}