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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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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. The 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. Without 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. The 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. The 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. --- Photography, Documentary --- Photography

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Since well before the debates about global warming and climate change, images have played an important part in bringing changes in nature and the environment to the attention of the general public. Moreover, most of these images have historic precursors. Gisela Parak illuminates how the synergy of photography and science gave rise to a class of photographs of environmental phenomena in the history of the United States of America, and how these images supported and instructed the scientific pursuit of knowledge, and were furthermore used as a persuasive means for directing public opinion. »This book will be relevant to any assessment of the current media mechanisms that inform collective understanding of the earth and its ecological dynamics. Young scholars interested in this area would do well to follow up on her notes in order to delve further into the resources she cites.« Graham Burnett, Isis, 6 (2018) »Among the publication's other great merits are Gisela Parak's continuous ambition to embed all photographic images and historical, political, cultural and medial developments in their (trans)national and global contexts.« Susanne Leikam, ICON, 22/4 (2017) »Parak hat in zahlreichen, auch wenig erschlossenen Archiven umfangreich recherchiert und präsentiert eine verknüpfende Auswertung der vielfältigen Dokumente und, in einigen Fällen, überraschende und einleuchtende Neuinterpretationen bekannten Materials.« Ulrike Heine, Rundbrief Fotografie, 24/1 (2017) Besprochen in: Isis, 6 (2018), Graham Burnett

Documentary photography --- United States --- Environmental conditions --- History

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Davor Konjikušić offers an in-depth presentation and contextualization of the photographs created by Yugoslav partisans between 1941 and 1945. The book goes beyond an aesthetic depiction of the photographs; it also deals with the history of their use and function within one of the biggest anti-fascist movements in Europe during the Second World War. The photographs are used to trace the development of a movement that-while seemingly doomed to certain failure-nevertheless survived the most destructive war in human history. This book provides new answers to the question of photography's role as a medium and its significance and use in social movements.

HISTORY / Military / World War II. --- Documentary photography --- Resistance movement

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Between 2009 and 2013, as the nation contemplated the historic election of Barack Obama and endured the effects of the Great Recession, Matthew Frye Jacobson set out with a camera to explore and document what was discernible to the 'historian's eye' during this tumultuous period. Having collected several thousand images, Jacobson began to reflect on their raw, informal immediacy alongside the recognition that they comprised an archive of a moment with unquestionable historical significance. This book presents more than 100 images alongside Jacobson's recollections of their moments of creation and his understanding of how they link past, present, and future. The images reveal diverse expressions of civic engagement that are emblematic of the aspirations, expectations, promises, and failures of this period in American history.

Documentary photography --- Street photography --- Obama, Barack. --- United States --- History