Photography: A Critical IntroductionLiz Wells Psychology Press, 2000 - 384 páginas Surveying the spectrum of photography from the mid-nineteenth century to the present, Photography: A Critical Introductionis the first book to examine key debates in photographic theory and place them in their proper social and political contexts. While most histories of photography invariably focus on the works of the "great photographers," this book is written especially to provide a coherent introduction to the nature of photographic seeing and its personal and cultural significance through history. Contributors lucidly examine a range of major photographic theories, histories, genres and issues, covering such topics as key debates in photographic theory and history; documentary photography and photojournalism; personal and popular photography; photography and commodity culture; photography and the human body; photography as art; and photography in the age of electronic imaging. This completely revised and updated second edition includes detailed case studies; key references, biographies of key thinkers, and margin notes; a full glossary of terms, comprehensive end-of-chapter bibliographies, and resource information, including guides to public archives and useful web sites. The lavish illustrations include images by Bill Brandt, Lee Friedlander, Hannah Hoch, Roshini Kempadoo, Dorothea Lange, Lee Miller, Alexander Rodchenko, Jacob Riis, Sebastio Salgado, Andres Serrano and Jo Spence. |
Conteúdo
Introduction | 1 |
debates | 9 |
The photograph as document | 17 |
Photography theory | 23 |
Photography reconsidered | 31 |
photography | 65 |
The camera at war | 72 |
Riis in the New York slums | 80 |
Fashion photography | 185 |
The context of the image | 202 |
photography | 217 |
Objects of desire | 225 |
The antipornography campaigns | 231 |
Technological bodies | 237 |
Photography and death | 244 |
Realism and systems of representation | 257 |
Illustrated magazines | 87 |
The Farm Security Administration FSA | 94 |
Theory and the critique of documentary | 102 |
Cultural politics and everyday life | 108 |
personal | 117 |
In and beyond the charmed circle of home | 123 |
Portraits and albums | 129 |
Informality and intimacy | 135 |
Kodak and the mass market | 141 |
Paths unholy and deeds without a name? | 151 |
Acknowledgements | 161 |
Introduction | 167 |
The photographic message | 173 |
Hegemony in photographic representation | 179 |
The modern era | 265 |
Photography in the age | 303 |
Digitising photographs the initial | 309 |
Digital simulation | 316 |
Technological change and cultural | 322 |
War and surveillance | 326 |
Digitisation and the question | 332 |
Convergence multimedia | 338 |
Summary | 344 |
Photography archives | 354 |
Bibliography | 360 |
375 | |
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Termos e frases comuns
advertising aesthetic albums American archives argued artists Barthes Bauhaus Benetton Benjamin Bill Brandt body Britain British Cambridge camera central chapter Cicciolina constructed contemporary context courtesy critical cultural debates developed digital image discussion documentary photography domestic Dorothea Lange electronic emphasis essay example exhibition explore fashion photography feminist film focus gallery gender genre Hannah Höch History of Photography ideas image technologies imagery instance Jo Spence kind landscape London looking magazine meaning medium Migrant Mother modern Museum nature nineteenth century object organised painting particular photographic image photographic practices photojournalism photomontage political portraits postmodern produced psychoanalysis questions realism reality refer relation representation reproduction Roland Barthes Rosler Routledge semiotics sense sexual snapshots social specific Spence straight photography Tagg techniques theory tion traditional twentieth century University Press Victorian viewer visual Walter Benjamin Women Photographers York