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Eric Lesdema's photographic series 'Fortunes of War' was awarded the UN Nikon World Prize in 1997. Originally a series of fifteen images, this extended edit includes eighty-three color photos, accompanied by a series of essays by leading academics in the field. The essays explore ideas raised by the prescient nature of the work, offering a highly original and engaging debate about its alternative approach to documentary photography, which views photography as an alternate space with the potential to project events rather than record them. In exploring an approach that cuts against the traditional concept central to documentary photography since its inception, the book thus raises important questions about twenty-first century interpretations and applications of photography and media. With thought-provoking research and a diverse array of essay contributions, Fortunes of War proposes new lines of interdisciplinary investigation, reflection, and inquiry.

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This volume addresses new theoretical approaches in visual and memory studies that prompted to rethink of the photography of Russian Turkestan of the nineteenth and early twentieth centuries. Attempts to relate the visual unknown documentations to postcolonial criticism also opened up new interpretive arenas, helping to decentralize the analysis of the history of photography.00The aim of this volume is to interpret photography as a specific tool that reifies reality, subjectively frames it, and fits it into various political, ideological, commercial, scientific, and artistic contexts.00Without reducing the entire argument to the binary of ?photography and power?, the authors reveal the different modes of seeing that involve distinct cultural norms, social practices, power relations, levels of technology, and networks for circulating photography, and that determined the manner of its (re)use in constructing various images of Central Asia.00The volume demonstrates that photography was the cornerstone of imperial media governance and discourse construction in colonial Turkestan of the tsarist and early Soviet periods. The various cases show the complex mechanisms by which images of Turkestan were created, remembered, or forgotten from the nineteenth until the twenty-first century.00The book should appeal to scholars of the Russian Empire and Central Asia; of history of photography and visual culture; of memory studies. It should be appropriate for use in upper-level undergraduate courses, and even a broader public.

Documentary photography.

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Everbody's Ataturk' is a visual journey through everyday life in contemporary Turkey. For this long-term project, Mine Dal, a photographer born in Istanbul and now based in Switzerland, travelled widely in Turkey, looking for traces of the protean presence of Mustafa Kemal Ataturk (1881-1938), the founder of the Republic of Turkey. The upshot is a multi-faceted portrait of Turkish society, for the symbolic figure of Ataturk permeates virtually every area of present-day social and public life there: at the tailors, butchers or greengrocers shop, at restaurants and schools, at the hairdresser's and the shoe store just about anywhere you look, you ll find Atatru. Even more than eighty years after the death of the founder of the modern state, his memory is still alive and widely revered. Ataturk undertook far-reaching social, legal and economic reforms to modernize and fundamentally redefine Turkey based on Western models. Mine Dals photographs show not only everybody's Ataturk, but also day-to-day life in big cities as well as in Anatolian villages and coastal and mountain regions. This painstaking wide-ranging compilation of unique documentary material also reflects the Turkish people's allegiance to an openminded, cosmopolitan Turkey.

Documentary photography --- Documentary photography. --- Turkey --- Turkey.

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Photography --- History. --- documentary photography