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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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Archives --- Documentary photography --- Evidence, Documentary --- Archives. --- Documentary photography. --- Evidence, Documentary. --- Documentary evidence --- Evidence (Law) --- Legal documents --- Photography, Documentary --- Photography --- Documents --- Manuscript depositories --- Manuscript repositories --- Manuscripts --- Documentation --- History --- Information services --- Records --- Cartularies --- Charters --- Diplomatics --- Public records --- Depositories --- Repositories

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Includes Board-reviewed conference proceedings and peer-reviewed special issues.

Archives --- Documentary photography --- Evidence, Documentary --- Archives. --- Documentary photography. --- Evidence, Documentary. --- Documentary evidence --- Evidence (Law) --- Legal documents --- Photography, Documentary --- Photography --- Documents --- Manuscript depositories --- Manuscript repositories --- Manuscripts --- Documentation --- History --- Information services --- Records --- Cartularies --- Charters --- Diplomatics --- Public records --- Depositories --- Repositories --- document theory --- information studies --- library science --- documentation --- knowledge organisation

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Imagine a world in which each individual has a fundamental right to be reborn. This idle dream haunts Hilde Van Gelder's associative travelogue that takes Allan Sekula's sequence Deep Six / Passer au bleu (1996/1998) as a touchstone for a dialogue with more recent artworks zooming in on the borderscape near the Channel Tunnel, such as those by Sylvain George and Bruno Serralongue. Combining ethnography, visual materials, political philosophy, cultural geography, and critical analysis, Ground Sea proceeds through an innovative methodological approach. Inspired by the meandering writings of W.G. Sebald, Javier Marías, and Roland Barthes, Van Gelder develops a style both interdisciplinary and personal. Resolutely opting for an aquatic perspective, Ground Sea offers a powerful meditation on the indifference of an increasingly divided European Union with regard to considerable numbers of persons on the move, who find themselves stranded close to Calais. The contested Strait of Dover becomes a microcosm where our present global challenges of migration, climate change, human rights, and neoliberal surveillance technology converge.

Human rights --- Photography --- Social aspects --- Political aspects --- Sekula, Allan --- Criticism and interpretation. --- Dover, Strait of --- Europe --- Emigration and immigration. --- Emigration and immigration --- Social aspects. --- Political aspects. --- Migration. Refugees --- documentary photography --- The Channel

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In the wake of Glasgow's transformation in the nineteenth-century into an industrial powerhouse–the “Second City of the Empire”–a substantial part of the old town of Adam Smith degenerated into an overcrowded and disease-ridden slum. The Old Closes and Streets of Glasgow, Thomas Annan's photographic record of this central section of the city prior to its demolition in accordance with the City of Glasgow Improvements Act of 1866, is widely recognized as a classic of nineteenth-century documentary photography. Annan's achievement as a photographer of paintings, portraits and landscapes is less widely known. Thomas Annan of Glasgow: Pioneer of the Documentary Photograph offers a handy, comprehensive and copiously illustrated overview of the full range of the photographer's work. The book opens with a brief account of the immediate context of Annan's career as a photographer: the astonishing florescence of photography in Victorian Scotland. Successive chapters deal with each of the main fields of his activity, touching along the way on issues such as the nineteenth-century debate over the status of photography–a mechanical practice or an artistic one?–and the still ongoing controversies surrounding the documentary photograph in particular. While the text itself is intended for the general reader, extensive endnotes amplify particular themes and offer guidance to readers interested in pursuing them further.

Regions & Countries - Europe --- History & Archaeology --- Great Britain --- Annan, Thomas, --- Glasgow (Scotland) --- History --- Pictorial works. --- Streets --- Photographers --- Photography --- Documentary photography --- History. --- Photography, Documentary --- Avenues --- Boulevards --- Thoroughfares --- Glasgow --- Glaschu (Scotland) --- Glasgow (Strathclyde) --- Glasgo (Scotland) --- Artists --- Roads --- photography --- victorian scotland --- glasgow --- portraits --- thomas annan --- documentary --- landscapes --- Edinburgh --- Loch Katrine --- London