Photography: a critical introduction
Gespeichert in:
| Weitere Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
London ; New York
Routledge, Taylor & Francis Group
2021
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| Ausgabe: | Sixth edition |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | xxiv, 463 Seiten Illustrationen |
| ISBN: | 9780367222758 9780367222741 |
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| adam_text | Contents Contributors Editor s preface Acknowledgements Illustration acknowledgements introduction xi xi і і XV xvi 1 LIZ WELLS 1 Thinking about photography: Debates, historicaily and now 11 DERRICK PRICE AND LIZ WELLS Introduction 13 Aesthetics and technologies 15 The impact of new technologies 15 Art and technology 16 The photograph as document 20 Photography, modernity and the postmodern 23 Aesthetic debates now 28 Contemporary debates 31 What is theory? 31 Photography theory 33 Critical reflections on realism 35 Reading images 40 Photography reconsidered 43 Theory, criticism, practice 45 v
CONTENTS Case study: Image analysis: The example of Migrant Mother 49 Histories of photography 60 Which founding father? 61 The photograph as image 62 History in focus 65 Photography and social history 68 Social history and photography 68 The photograph as testament 69 Categorical photography 72 Institutions and contexts 76 Museums and archives 77 2 Surveyors and surveyed: Photography out and about 83 DERRICK PRICE introduction 85 Documentary and photojournalism: Issues and definitions 87 Documentary photography 87 Photojournalism 88 Photography and war 89 War and spectacle 96 Documentary and authenticity 98 Defining the real In the age of social media 101 Surveys and social facts 106 Victorian surveys and investigations 106 Photographing workers 109 The construction of documentary 117 Picturing ourselves 118 The Farm Security Administration (FSA) 126 Discussion: Drum 129 Documentary: New cultures, new spaces 132 Photography on the streets 132 Theory and the critique of documentary 138 Cultural politics and everyday life 140 The real world in colour 142 Documentary and photojournalism in the global age 145 3 Sweet it is to scan... : Personal photographs and popular photography PATRICIA HOLLAND Introduction 151 Private lives and personal pictures: Users and readers 153 In and beyond the charmed circle of the home 156 The public and the private in personal photography 156 Beyond the domestic 160 VI 149
Portraits and albums 164 informality and intimacy 170 The working classes picture themselves 172 The Kodak path: Kodak and the mass market 177 The supersnap in Kodaland 183 Paths unholy and deeds without a name? 187 Re-viewing the archive 187 Autobiography: Exploring childhood 193 Post-family and post-photography? The digital world and the end of privacy 197 Change 201 Continuity 203 Moment of taking 204 Moments of viewing and sharing 206 Moments of organising and reviewing: the role of the archive 207 And in the galleries... 208 4 The subject as object: Photography and the human body 211 MICHELLE HENNING WITH CAROLE BAKER Introduction 213 The photographic body in crisis 213 Embodying social difference 218 Photography and identification 218 New dimension: Mattering black lives 223 Objects of desire and disgust 227 Objectification, fetishism, voyeurism 227 The celebrity body 229 Pornography and sexual imagery 232 Class and representations of the body 235 New dimension: #Me 2.0 237 Technological bodies 240 The camera as mechanical eye 240 Interventions and scientific images 243 The body as machine 245 Digital imaging and the malleable body 249 Case study: Materialism and embodiment 251 New dimension: Seeing textures 255 The body in transition 258 Photography, birth and death 258 Summary 263 VII
CONTENTS 5 Spectacles and illusions: Photography and commodity culture 265 ANANDI RAMAMURTHY Introduction: The society of the spectacle 267 Photographic portraiture and commodity culture 269 Photojournalism, glamour and the paparazzi 271 Stock photography, image banks and corporate media 275 Commodity spectacles In advertising photography 280 The grammar of the ad 287 Case study: The commodification of human experience Coca Cola s Open Happiness Campaign 287 The transfer and contestation of meaning 290 Hegemony in photographic representation 292 Photomontage: Concealing social relations 293 The fetlshlsation of labour relations 296 The gaze and gendered representations 297 Fashion and tourism 301 Case study: Tourism, fashion and the Other 306 Case study: Self-Orientalisation and the construction of nationhood in the incredible India campaign 314 The context of the image 318 Image worlds 319 Case study: Benetton, Toscani and the limits of advertising 321 6 On and beyond the white walls: Photography as art LIZ WELLS Introduction 329 Photography as art 330 Early debates and practices 333 The complex relations between photography and art 333 Photography extending art 336 Photography claiming a place In the gallery 338 The modern era 342 Modernism and Modern Art 342 Modern photography 345 Photo-eye: New ways of seeing 347 Case study: Art, design, politics: Soviet Constructivism 348 Emphasis on form 350 American formalism 352 Case study: Art movements and intellectual currencies: Surrealism 354 vin 327
Surrealist photography 355 Late twentieth-century perspectives 3S7 Conceptual art and the photographic 358 Photography and the postmodern 360 Women s photography 365 Questions of Identity 367 Identity and the multi-cultural 368 Case study: Landscape as genre 370 Photography within the institution 388 Art photography now 390 Curators, collectors and festivals 393 Blurring the boundaries 395 Afterword 397 Glossary 401 From analogue to digital 409 Photography archives 413 Bibliography 419 Index 447
Now in its sixth edition, this seminal textbook examines key debates in photographic theory and places them in their social and political contexts. Written especially for students in further and higher education and for introductory college courses, it provides a coherent introduction to the nature of photographic seeing. Individual chapters cover: • • • • • • Key debates in photographic theory and history Documentary photography and photojournalism Personal and popular photography Photography and the human body Photography and commodity culture Photography as art. This revised and updated edition includes new case studies on topics such as: Black Lives Matter and the racialised body; the #MeToo movement; materialism and embodiment; nation branding; and an extended critical discussion of landscape as genre. Illustrated with over 100 colour and black and white [ hotographs, it features work from Bill Brandt, Susan Derges, Rineke Dijkstra, Fran Herbello, Hannah Hoch, Mari Katayama, Sant Khalsa, Karen Knorr, Dorothea Lange, Susan Meiselas, Lee Miller, Ingrid Pollard, Jacob Riis, Alexander Rodchenko, Andres Serrano, Cindy Sherman and Jeff Wall. Fully updated resource information, including guides to public archives and useful websites, a full glossary of terms and a comprehensive bibliography, plus additional resources at routledgetextbooks. com/textbooks/9780367222758/ make this an ideal introduction to the field.
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| adam_txt |
Contents Contributors Editor's preface Acknowledgements Illustration acknowledgements introduction xi xi і і XV xvi 1 LIZ WELLS 1 Thinking about photography: Debates, historicaily and now 11 DERRICK PRICE AND LIZ WELLS Introduction 13 Aesthetics and technologies 15 The impact of new technologies 15 Art and technology 16 The photograph as document 20 Photography, modernity and the postmodern 23 Aesthetic debates now 28 Contemporary debates 31 What is theory? 31 Photography theory 33 Critical reflections on realism 35 Reading images 40 Photography reconsidered 43 Theory, criticism, practice 45 v
CONTENTS Case study: Image analysis: The example of Migrant Mother 49 Histories of photography 60 Which founding father? 61 The photograph as image 62 History in focus 65 Photography and social history 68 Social history and photography 68 The photograph as testament 69 Categorical photography 72 Institutions and contexts 76 Museums and archives 77 2 Surveyors and surveyed: Photography out and about 83 DERRICK PRICE introduction 85 Documentary and photojournalism: Issues and definitions 87 Documentary photography 87 Photojournalism 88 Photography and war 89 War and spectacle 96 Documentary and authenticity 98 Defining the real In the age of social media 101 Surveys and social facts 106 Victorian surveys and investigations 106 Photographing workers 109 The construction of documentary 117 Picturing ourselves 118 The Farm Security Administration (FSA) 126 Discussion: Drum 129 Documentary: New cultures, new spaces 132 Photography on the streets 132 Theory and the critique of documentary 138 Cultural politics and everyday life 140 The real world in colour 142 Documentary and photojournalism in the global age 145 3 'Sweet it is to scan.': Personal photographs and popular photography PATRICIA HOLLAND Introduction 151 Private lives and personal pictures: Users and readers 153 In and beyond the charmed circle of the home 156 The public and the private in personal photography 156 Beyond the domestic 160 VI 149
Portraits and albums 164 informality and intimacy 170 The working classes picture themselves 172 The Kodak path: Kodak and the mass market 177 The supersnap in Kodaland 183 Paths unholy and deeds without a name? 187 Re-viewing the archive 187 Autobiography: Exploring childhood 193 Post-family and post-photography? The digital world and the end of privacy 197 Change 201 Continuity 203 Moment of taking 204 Moments of viewing and sharing 206 Moments of organising and reviewing: the role of the archive 207 And in the galleries. 208 4 The subject as object: Photography and the human body 211 MICHELLE HENNING WITH CAROLE BAKER Introduction 213 The photographic body in crisis 213 Embodying social difference 218 Photography and identification 218 New dimension: Mattering black lives 223 Objects of desire and disgust 227 Objectification, fetishism, voyeurism 227 The celebrity body 229 Pornography and sexual imagery 232 Class and representations of the body 235 New dimension: #Me 2.0 237 Technological bodies 240 The camera as mechanical eye 240 Interventions and scientific images 243 The body as machine 245 Digital imaging and the malleable body 249 Case study: Materialism and embodiment 251 New dimension: Seeing textures 255 The body in transition 258 Photography, birth and death 258 Summary 263 VII
CONTENTS 5 Spectacles and illusions: Photography and commodity culture 265 ANANDI RAMAMURTHY Introduction: The society of the spectacle 267 Photographic portraiture and commodity culture 269 Photojournalism, glamour and the paparazzi 271 Stock photography, image banks and corporate media 275 Commodity spectacles In advertising photography 280 The grammar of the ad 287 Case study: The commodification of human experience Coca Cola's Open Happiness Campaign 287 The transfer and contestation of meaning 290 Hegemony in photographic representation 292 Photomontage: Concealing social relations 293 The fetlshlsation of labour relations 296 The gaze and gendered representations 297 Fashion and tourism 301 Case study: Tourism, fashion and 'the Other' 306 Case study: Self-Orientalisation and the construction of nationhood in the incredible India campaign 314 The context of the image 318 Image worlds 319 Case study: Benetton, Toscani and the limits of advertising 321 6 On and beyond the white walls: Photography as art LIZ WELLS Introduction 329 Photography as art 330 Early debates and practices 333 The complex relations between photography and art 333 Photography extending art 336 Photography claiming a place In the gallery 338 The modern era 342 Modernism and Modern Art 342 Modern photography 345 Photo-eye: New ways of seeing 347 Case study: Art, design, politics: Soviet Constructivism 348 Emphasis on form 350 American formalism 352 Case study: Art movements and intellectual currencies: Surrealism 354 vin 327
Surrealist photography 355 Late twentieth-century perspectives 3S7 Conceptual art and the photographic 358 Photography and the postmodern 360 Women's photography 365 Questions of Identity 367 Identity and the multi-cultural 368 Case study: Landscape as genre 370 Photography within the institution 388 Art photography now 390 Curators, collectors and festivals 393 Blurring the boundaries 395 Afterword 397 Glossary 401 From analogue to digital 409 Photography archives 413 Bibliography 419 Index 447
Now in its sixth edition, this seminal textbook examines key debates in photographic theory and places them in their social and political contexts. Written especially for students in further and higher education and for introductory college courses, it provides a coherent introduction to the nature of photographic seeing. Individual chapters cover: • • • • • • Key debates in photographic theory and history Documentary photography and photojournalism Personal and popular photography Photography and the human body Photography and commodity culture Photography as art. This revised and updated edition includes new case studies on topics such as: Black Lives Matter and the racialised body; the #MeToo movement; materialism and embodiment; nation branding; and an extended critical discussion of landscape as genre. Illustrated with over 100 colour and black and white [ hotographs, it features work from Bill Brandt, Susan Derges, Rineke Dijkstra, Fran Herbello, Hannah Hoch, Mari Katayama, Sant Khalsa, Karen Knorr, Dorothea Lange, Susan Meiselas, Lee Miller, Ingrid Pollard, Jacob Riis, Alexander Rodchenko, Andres Serrano, Cindy Sherman and Jeff Wall. Fully updated resource information, including guides to public archives and useful websites, a full glossary of terms and a comprehensive bibliography, plus additional resources at routledgetextbooks. com/textbooks/9780367222758/ make this an ideal introduction to the field. |
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