Photography and Culture最新文献_第8页

Countless Ways of Knowing: Looking at Images beyond the Frame as a Practice of Liberatory Pedagogy 无数的认知方式:以解放教育学的实践审视框架之外的图像

IF 0.3 4区艺术学

Photography and Culture Pub Date : 2022-01-02 DOI: 10.1080/17514517.2022.2057089

B. Asante

引用次数: 0

Suburban Herbarium 郊区的标本

IF 0.3 4区艺术学

Photography and Culture Pub Date : 2021-10-02 DOI: 10.1080/17514517.2021.1993664

W. Arnold

引用次数: 0

“The Queer Optics of the Vietnamese Diaspora: Reframing the Visual Archive in ‘The opposite of looking is not invisibility. The opposite of yellow is not gold.’” “越南侨民的酷儿光学：在‘看的反面不是隐形。黄色的反面不是金色’中重新构建视觉档案。”

IF 0.3 4区艺术学

Photography and Culture Pub Date : 2021-10-02 DOI: 10.1080/17514517.2021.1964745

Sally E. McWilliams

{"title":"“The Queer Optics of the Vietnamese Diaspora: Reframing the Visual Archive in ‘The opposite of looking is not invisibility. The opposite of yellow is not gold.’”","authors":"Sally E. McWilliams","doi":"10.1080/17514517.2021.1964745","DOIUrl":"https://doi.org/10.1080/17514517.2021.1964745","url":null,"abstract":"Abstract Vietnamese diasporic artists who came to the U.S. post 1975 actively engage with the silences, losses, and distortions that fracture and fragment their families’ histories, memories, and images. My analysis argues that the photographic installation “The opposite of looking is not invisibility. The opposite of yellow is not gold” by Hương Ngô and Hồng-Ân Trương participates in this project of imaginative remembrance and reconstruction. I theorize how the installation produces a queer optics that unsettles our reliance on prescribed understandings of Vietnamese female refugees as compliant participants in the myth of the model Asian minority. This queer optics uses three techniques to literally and ideologically reframe Vietnamese diasporic female agency: deconstruction of family albums, juxtaposition of photos and text, and creation of a queer of color gaze of intimacy. This optics produces a countervisuality of affective knowledges about relationality and futurity, displacing normalized practices of looking with new interpretative possibilities.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44547453","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Kodachrome Plantation: Bruce Jackson’s Color Prison Photographs 柯达胶卷种植园:布鲁斯·杰克逊的彩色监狱照片

IF 0.3 4区艺术学

Photography and Culture Pub Date : 2021-09-17 DOI: 10.1080/17514517.2021.1882136

K. Schreiber

{"title":"Kodachrome Plantation: Bruce Jackson’s Color Prison Photographs","authors":"K. Schreiber","doi":"10.1080/17514517.2021.1882136","DOIUrl":"https://doi.org/10.1080/17514517.2021.1882136","url":null,"abstract":"Abstract This article examines the color photographs that were taken by Bruce Jackson at prison farms throughout Texas and Arkansas between 1964 and 1979. It not only asks why Jackson’s photographs have been exclusively published and exhibited in black-and-white, but also explores what might be gained by seeing the prison farm in color. Extending from Sally Stein’s examination of the rhetorical meanings of monochrome and polychrome photography in the interwar context, this article argues that, due to the widespread recirculation of Farm Security Administration photography in public life during the 1960s and after, black-and-white documentary gained a newfound historical authenticity. As a result of their clear resonance with Depression-era photographs of manual, agricultural labor, Jackson’s photographs were drained of color in order to displace the institution onto a remote past. This article claims that, by coding the prison farm as both in and out of time, Jackson’s color photographs upend the way in which we have been made to see the prison farm and, in doing so, produce an alternative history of the 1960s and after––one that fully attends to the ongoing temporality of slavery and its afterlives.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-09-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46039320","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Crime Scenes: Landscape, Memory and Atrocity in Jorge Barbi’s El Final, Aquí 犯罪场景：Jorge Barbi的《El Final》中的风景、记忆和暴行

IF 0.3 4区艺术学

Photography and Culture Pub Date : 2021-08-06 DOI: 10.1080/17514517.2021.1952714

Thomas Austin

引用次数: 0

“Grateful” Children and “Humanitarian” Marines: Georgette “Dickey” Chapelle’s Vietnam Photography, 1962 “感恩的”孩子和“人道主义的”海军陆战队员:乔吉特“迪基”查贝尔的越南摄影，1962年

IF 0.3 4区艺术学

Photography and Culture Pub Date : 2021-07-05 DOI: 10.1080/17514517.2021.1940689

Georgia Vesma

{"title":"“Grateful” Children and “Humanitarian” Marines: Georgette “Dickey” Chapelle’s Vietnam Photography, 1962","authors":"Georgia Vesma","doi":"10.1080/17514517.2021.1940689","DOIUrl":"https://doi.org/10.1080/17514517.2021.1940689","url":null,"abstract":"Abstract This article explores how one female photographer, Georgette ‘Dickey’ Chapelle (1918–1965), used children’s emotions as visual and rhetorical justification for early ‘advisory’ actions in Vietnam by the United States, situating the presence of U.S. Marines in Vietnam as ‘humanitarian’. Children are a common subject for ‘humanitarian photography’, mobilising an emotional response and justifying certain actions as humanitarian (Fehrenbach and Rodogno, Humanitarian Photography: A History. Cambridge University Press, 2015). War photography studies have explored the creation of a ‘humanitarian soldier' to justify colonising conflicts in the twenty-first century (Parry, Media, Culture and Society 33 (8): 1185–1201, 2011; Kotilainen, “Humanitarian Soldiers, Colonialised Others and Invisible Enemies-Visual Strategic Communication Narratives of the Afghan War.” FIIA Working Paper, 2011). This paper brings these ideas to a case study from the Vietnam War era, emphasising the role of emotional constructions in the production of such ‘humanitarian’ interpretations of military activity. In her article for National Geographic, “Helicopter War in Viet Nam,” Chapelle focused on interactions between uniformed American men and Vietnamese children, whom she portrayed as grateful recipients of airlifts, clothing and medical treatment. Chapelle used children to symbolise South Vietnam, reflecting political discourses in the United States that presented Vietnam as a ‘childlike’ nation in need of ‘rescue’. While many photographs of children from the Vietnam War era were used as evidence of the moral indefensibility of the conflict, this paper argues that Chapelle’s photographs from the Mekong Delta in 1962 portray Vietnam as ‘childlike’ to justify American intervention in Vietnam as ‘humanitarian’.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17514517.2021.1940689","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47126346","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Punjabi Migration to the Black Country: A Photographic Journey through History, Cultures and Digital Technology 旁遮普移民到黑人国家：穿越历史、文化和数字技术的摄影之旅

IF 0.3 4区艺术学

Photography and Culture Pub Date : 2021-07-03 DOI: 10.1080/17514517.2021.1927373

Anand Chhabra

{"title":"Punjabi Migration to the Black Country: A Photographic Journey through History, Cultures and Digital Technology","authors":"Anand Chhabra","doi":"10.1080/17514517.2021.1927373","DOIUrl":"https://doi.org/10.1080/17514517.2021.1927373","url":null,"abstract":"Indian migrant workers have been present in the United Kingdom’s county of the West Midlands since the 1930s. Initially, they were mostly men. However, by the 1960s, many of them had married Indian women, which meant that, over time, more families migrated to the region. They found work in the manufacturing, textile and service sectors across an area known as the Black Country, consisting of the Metropolitan Boroughs of Dudley, Sandwell, Walsall and Wolverhampton. While they worked hard to make a living, not everyone was pleased with their arrival. The Indian migrants gradually became subject to racial abuse and discrimination, largely fueled by the two infamous politicians, Enoch Powell, who was MP for the city of Wolverhampton at the time, and Pete Griffiths, who was the MP of Smethwick. Despite this opposition, many local people of the Black Country welcomed the migrants and, soon enough, Desi Pubs, Indian shops, local music and the vibrant local multiculturalism altogether has turned into a source of pride for the people living across the region. As of 2021, 15% (approximately 40,000 people) of the residents of the city of Wolverhampton – the Black Country’s beating heart – are part of the Punjabi community, making it the largest Punjabi community in the United Kingdom outside of London. In 2016, members of Black Country Visual Arts, a local communityled cultural organization of which I am the director, established a digitallybased photography archive with a view to increasing the visibility of UKbased Punjabi migrants in British society. We named it the Apna Heritage Archive because, in the Punjabi language, “Apna”means “ours”. Indeed, we designed the Apna Heritage Archive to preserve private photographs that, nevertheless, can reflect and respond to the broader history of the Punjabi community in the city of Wolverhampton. In order to create it, we set up events and workshops in a range of places in which especially","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17514517.2021.1927373","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48794810","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Reborn-Digital Tutankhamun: Howard Carter and an Egyptian Archaeologist, Name Unknown 重生-数字图坦卡蒙:霍华德·卡特和一位埃及考古学家，名字不详

IF 0.3 4区艺术学

Photography and Culture Pub Date : 2021-07-03 DOI: 10.1080/17514517.2021.1927371

C. Riggs

引用次数: 0

Photographic Digital Heritage in Cultural Conflicts: A Critical Introduction 文化冲突中的数码摄影遗产:批判性导论

IF 0.3 4区艺术学

Photography and Culture Pub Date : 2021-07-03 DOI: 10.1080/17514517.2021.1953763

Gil Pasternak

{"title":"Photographic Digital Heritage in Cultural Conflicts: A Critical Introduction","authors":"Gil Pasternak","doi":"10.1080/17514517.2021.1953763","DOIUrl":"https://doi.org/10.1080/17514517.2021.1953763","url":null,"abstract":"Abstract This introduction to the special issue “Photographic Digital Heritage in Cultural Conflicts” calls for the development of research into the various local and global political circumstances that have influenced the absorption of historical photographs into the realm of digital heritage, alongside the study of the digital photographic heritagization practices triggered by this very process. Opening with an exploration of the emergence of “the heritage phenomenon”, it analyses how photography, heritage, and the political arena have become interlocked. The discussion then considers how historical photographs, digital heritage and cultural conflicts have subsequently also become entangled since the post-Cold War rising prevalence of digital technology, global interconnectedness and liberal democracy. These related conditions, it is suggested, have informed the growing digital heritagization of historical photographs and the methods used for their digitization, safeguarding and dissemination. Before introducing the individual contributions to the issue, the text therefore argues that the confluence of historical photographs and digital heritage must not be understood as a mere response to technological progress but as an articulation of politically-charged aspirations to capitalize on the common association of photographs with the past, to administer approaches to differing cultural values in a time of imposing liberal-democratic politics of consensus.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43719591","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 4

Sheltering the Ghosts? Digitized Photographs of Political Victims and World War II Veterans on Russian Online Databases 庇护幽灵?俄罗斯在线数据库中政治受害者和二战老兵的数字化照片

IF 0.3 4区艺术学

Photography and Culture Pub Date : 2021-07-03 DOI: 10.1080/17514517.2021.1927367

Denis Skopin

{"title":"Sheltering the Ghosts? Digitized Photographs of Political Victims and World War II Veterans on Russian Online Databases","authors":"Denis Skopin","doi":"10.1080/17514517.2021.1927367","DOIUrl":"https://doi.org/10.1080/17514517.2021.1927367","url":null,"abstract":"Abstract In this article I consider Russian online databases that collect, digitize and organize film-based photographs showing Russian victims and participants of the twentieth-century political cataclysms, primarily World War II (WWII) and Stalin’s political terror. Most of these photographs are pre-WWII portraits from private photographic collections and family albums. The article focuses on their transformation into heritage assets which arguably occurs once they become publicly accessible through inclusion in online databases created by politically-motivated organizations such as the Memorial society, the Sakharov Center, Immortal Regiment, Immortal Barrack and Immortal Regiment of Russia. Through discussion of the structures of the databases, analysis of the ways in which they display the photographs, and comparison between them, the article shows that the digitization of the photographs is able to offer political presence to missing people through the multiplication and maintenance of their appearances in the public sphere. This presence is used in two different ways. First, the digitization of the photographs discussed here has enabled liberals in Russia to use them for the purpose of commemoration, which has turned them into a form of an online memorial to the victims of political cataclysms. At the same time, the digitized portraits of WWII veterans have been used by the Immortal Regiment of Russia for what can be called “the political mobilization of the dead.”","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17514517.2021.1927367","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41675457","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 2