Early Popular Visual Culture最新文献_第6页

‘The Admiralty has been keeping its pictures’: photography and the British Arctic Expedition, 1875–1876 “海军部一直保存着它的照片”:摄影和英国北极探险队，1875-1876

IF 0.2 4区社会学

Early Popular Visual Culture Pub Date : 2022-10-17 DOI: 10.1080/17460654.2022.2128845

N. Kaalund

{"title":"‘The Admiralty has been keeping its pictures’: photography and the British Arctic Expedition, 1875–1876","authors":"N. Kaalund","doi":"10.1080/17460654.2022.2128845","DOIUrl":"https://doi.org/10.1080/17460654.2022.2128845","url":null,"abstract":"ABSTRACT When the British Arctic Expedition of 1875 under command of George Nares left in search of the North Pole, they brought with them the most up-to-date photographic equipment available to the British Admiralty. Two crew members received instruction in photography from the astronomer, engineer and photographer, William Abney at Chatham, and Abney also sourced the wet and dry-plate equipment provided for the expedition. The expedition was unsuccessful in its ambitious geographical goal of reaching the North Pole, but it returned in 1876 with over 100 photographs. However, the Admiralty did not immediately release the photographs, which was a decision that was broadly criticized in the British periodical press. This was the first time an expedition had successfully returned with photographs taken in the high Arctic, so why did the Admiralty withhold the photographs? In this article, I use examples from the Illustrated London News and Nares’ official travel account Narrative of A Voyage to the Polar Sea (1878) to examine the use of photography in constructing specific ideals of exploration in the context of the British Arctic Exploration of 1875. I show that the use of photography in the Arctic had been an experiment, both in terms of using new technologies while travelling in the high north, and in incorporating this new medium into the visual archives and narrative storytelling of expeditions. The use of different forms of illustrations also speaks the construction of visual authority and narratorial control in the context of imperial expansionism in the North.","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"84 1","pages":"303 - 330"},"PeriodicalIF":0.2,"publicationDate":"2022-10-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80825557","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The picture postcard: a new window into Edwardian Ireland 图片明信片:了解爱德华七世时代爱尔兰的新窗口

IF 0.2 4区社会学

Early Popular Visual Culture Pub Date : 2022-10-10 DOI: 10.1080/17460654.2022.2130206

Anushrut Ramakrishnan Agrwaal

引用次数: 2

Early photographic federations and the pursuit of collaborative education 早期的摄影联合会和追求合作教育

IF 0.2 4区社会学

Early Popular Visual Culture Pub Date : 2022-10-02 DOI: 10.1080/17460654.2022.2087710

S. Dominici

{"title":"Early photographic federations and the pursuit of collaborative education","authors":"S. Dominici","doi":"10.1080/17460654.2022.2087710","DOIUrl":"https://doi.org/10.1080/17460654.2022.2087710","url":null,"abstract":"ABSTRACT In 1899, a group of photographic societies and camera clubs in the north of England came together to form the Yorkshire Photographic Union. Soon after, five other photographic federations were founded by societies and clubs in Northumberland and Durham (1901), Scotland (1903), Lancashire and Cheshire (1905), the Midlands (1907), and East Anglia (1910). These umbrella organisations supported their federated members by coordinating the circulation of photographic materials, lecturers, and judges, and by organising joint meetings, outings, and competitions. At a time when formal photographic education was still in its infancy and largely open to professionals only, and in line with this period’s concerns with rational recreation and mutual support, the photographic federations fostered opportunities for a growing body of amateur photographers to learn from one another. This article reconstructs the largely under-researched emergence of these organisations, and asks what their educational project tells us about their understanding of how people ought to be taught and learn photography, and the values and meanings that they attached to these practices. It reveals that their vision was shaped not simply by a desire to combine instruction with sociability but, most fundamentally, by the recognition that the acquisition of theoretical and practical photographic knowledge depended on collaborative practices. The article argues that doing photography with others at the level of clubs and societies had brought them first to imagine, and then to realise, an educational infrastructure that conceptualised the transmission of photographic knowledge as a shared social responsibility supported by a cooperative network.","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"258 1","pages":"388 - 411"},"PeriodicalIF":0.2,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76365685","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Movie Mavens: US newspaperwomen take on the movies, 1914-1923 电影行家:1914-1923年，美国女记者投身电影

IF 0.2 4区社会学

Early Popular Visual Culture Pub Date : 2022-09-15 DOI: 10.1080/17460654.2022.2122314

Tamar Jeffers McDonald

{"title":"Movie Mavens: US newspaperwomen take on the movies, 1914-1923","authors":"Tamar Jeffers McDonald","doi":"10.1080/17460654.2022.2122314","DOIUrl":"https://doi.org/10.1080/17460654.2022.2122314","url":null,"abstract":"of the park as well as the rhetoric of wonder. In the final essay in part III, ‘Art and the Expeditionary Impulse’, Capello focuses on Albert Operti, the historical Arctic painter (Chapter 11). In this chapter, he considers the popularity of Operti’s work in the context of the Arctic sublime and its perpetuation as a vernacular visual culture by exploring a variety of media, including paintings, periodical illustrations, postcards, tobacco cards, dioramas and travel exhibits. The discussion of the ‘popular sublime’ and commercialisation of the Far North in vernacular/ephemeral forms (217) expands the theme of this collection to the imagined expeditionary ideals beyond physical experience and direct observation. The inclusion of works by art historians, historians and geographers, as well as the origin of the project, gives Cartographic Expeditions and Visual Culture in the Nineteenth-Century Americas a breadth of diversity of issues and subjects. Unfortunately, although this book deals with the visual and material culture of mapping, the hardcover copy offers only black-and-white illustrations. Despite this limitation, however, this volume should serve as a good example for future studies of the Americas as hemispheric studies of visual culture rather than as nation-centred histories. This book will be of value to anyone who is interested in cartography and identity as well as in transnational histories within or beyond the geographical region of the Americas. Moreover, the issue of borders and the implications of lines resonate with current territorial disputes about national boundaries.","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"51 1","pages":"177 - 179"},"PeriodicalIF":0.2,"publicationDate":"2022-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74984247","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The Man Who Invented Motion Pictures: a true tale of obsession, murder, and the movies 发明电影的人:一个关于痴迷、谋杀和电影的真实故事

IF 0.2 4区社会学

Early Popular Visual Culture Pub Date : 2022-09-06 DOI: 10.1080/17460654.2022.2110788

Peter Domankiewicz

引用次数: 0

Cinema on the Front Line: British Soldiers and Cinema in the First World War 电影在前线:英国士兵和电影在第一次世界大战

IF 0.2 4区社会学

Early Popular Visual Culture Pub Date : 2022-07-20 DOI: 10.1080/17460654.2022.2099097

E. Marshall

引用次数: 0

Aeroscopics: media of the Bird’s-Eye View 航空显微镜:鸟瞰的媒介

IF 0.2 4区社会学

Early Popular Visual Culture Pub Date : 2022-07-19 DOI: 10.1080/17460654.2022.2099515

S. Connolly

引用次数: 0

Queer Timing: The Emergence of Lesbian Sexuality in Early Cinema 酷儿时代:早期电影中女同性恋性行为的出现

IF 0.2 4区社会学

Early Popular Visual Culture Pub Date : 2022-07-18 DOI: 10.1080/17460654.2022.2100579

Emma Morton

引用次数: 0

Serialized space: Chinatown iconography in Universal’s The Master Key 连载空间:环球电影《万能钥匙》中的唐人街形象

IF 0.2 4区社会学

Early Popular Visual Culture Pub Date : 2022-07-15 DOI: 10.1080/17460654.2022.2093243

Kim K. Fahlstedt

{"title":"Serialized space: Chinatown iconography in Universal’s The Master Key","authors":"Kim K. Fahlstedt","doi":"10.1080/17460654.2022.2093243","DOIUrl":"https://doi.org/10.1080/17460654.2022.2093243","url":null,"abstract":"ABSTRACT Late in 1914, Universal released The Master Key, a motion picture serial in 15 installments. Robert Z. Leonard directed and starred, and the project was marketed as the ‘most expensive serial yet’. The weekly film release was paralleled by a syndicated newspaper feuilleton, illustrated by stills from the motion pictures. Stills were also incorporated into an illustrated reissue of Fleming Wilson’s story, as well as in promotional materials, like illustrated ads and a 20-page poster stamp album published by the Wentz Printing Company. By way of a cross-media investigation of the (1914) serial The Master Key, this study contributes a case in point of how film stills circulated outside the movie theater. The film material has been reported lost, but some reels have been preserved at the Library of Congress. One of the preserved reels contains the episode set in San Francisco’s Chinatown. For this paper, various materials from The Master Key’s-cross media release have been acquired through online fan forums and collectible auctions. Following recent historical studies on film serials and the ”seriality” of stock characters, Chinatown scenes and the picturesque and efforts to write spatial film history, this paper argues that the proliferation of film images across media formats conceptualized The Master Key’s imagery of San Francisco Chinatown as a ”serialized” space, standardizing cinematic iconography in the public eye.","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"253 1","pages":"412 - 426"},"PeriodicalIF":0.2,"publicationDate":"2022-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76347469","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Magic lanterns and raree shows: metaphors of financial speculation during the bubbles of 1720 魔灯和稀有表演:1720年泡沫时期金融投机的隐喻

IF 0.2 4区社会学

Early Popular Visual Culture Pub Date : 2022-07-05 DOI: 10.1080/17460654.2022.2084760

Suzanne Vesta Kooloos

{"title":"Magic lanterns and raree shows: metaphors of financial speculation during the bubbles of 1720","authors":"Suzanne Vesta Kooloos","doi":"10.1080/17460654.2022.2084760","DOIUrl":"https://doi.org/10.1080/17460654.2022.2084760","url":null,"abstract":"ABSTRACT During what is described as the world’s first international stock market bubble – an economic bubble which burst in 1720 – visual and literary metaphors were an important means to criticise new economic practices and events. In this article I will argue that within this context, magic lanterns and raree shows functioned as key metaphors. Engravings and texts picture the devices as machines of magic and illusion, but also of propaganda and education. As such, a visual or literary reference to a raree show could point to the deceit and illusions of financial speculation (‘wind trade’), or to the triumph over these illusions. This diverse use is not only an indication of the fact that the medium was already more flexible than we might expect in this period of time, but it also reflects the status of theatre itself: both the fascination for the theatre and the anti-theatrical sentiments were deeply embedded in western societies of the early modern period. It also shows that metaphors of financial speculation were not only used to make sense of something that could not yet fully be grasped; indeed, they were used strategically and reflect great knowledge about speculative trade.","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"78 1","pages":"368 - 387"},"PeriodicalIF":0.2,"publicationDate":"2022-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88428664","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0