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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.
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Documentary photography. --- Fotografie. --- Photographie documentaire. --- 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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Focuses on the intersections between text and photography in the twentieth-century American photo-textThis critical study of the American photo-text focuses on the interaction between text and images in twentieth-century American photography as well as the discourse surrounding image-text collaboration on a wider level. In looking at books designed as collaborative efforts between writers and photographers and by photographer/writers adding their own narrative text, it establishes the photo-text as a genre related to and yet distinct from other documentary efforts.Ranging from documentary studies in the 1930s to post-war examinations of the American landscape, urban and rural, from Dorothea Lange’s photographs of dispossessed migrants in American Exodus (1939), Weegee’s small time hoodlums on the streets of New York in Naked City (1945), to Robert Frank’s Cold War landscapes, this survey constitutes an invaluable entry into how we read the politics of twentieth-century American photography.Key FeaturesExplores through a series of case studies some of the seminal photo-texts of the 1930s, 40s and 50s from documentary realism of the Depression years to post-war studies of the American landscapeExamines photo-texts by Doris Ulmann, Walker Evans, James Agee, Dorothea Lange, Margaret Bourke White, Wright Morris, Paul Strand, Roy DeCarava and Robert FrankEnables students and scholars of both American photography and literature to rethink the intersections between writing and photography in political as well as aesthetic termsSituates the various case studies with reference to the political, social and economic developments of the periodRe-establishes the book form as particularly crucial for an understanding of American Documentary photography
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Le désir de reproduire une image fidèle à la réalité, à ce que l'oeil voit, remonte à Aristote. Il aura fallu attendre 1839 pour que ce désir prenne forme avec l'invention de l'image photographique. Entre art et science, cette technique opticochimique allait changer notre perception du monde et révolutionner nos modes de connaissance. Un monde documentaire s'ouvrait ainsi. Quel que soit notre esprit critique, qu'il s'agisse de photographie ou de cinéma, nous sommes pris dans ce simulacre du réel qu'elle nous propose. Mais vers quelle réalité l'image photographique nous renvoie-t-elle ?
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La 4e de couverture indique : "Engagé dans une projet artistique, Philippe Bazin prend parti et analyse les oeuvres de Lewis Baltz, Allan Sekula, Martha Rosler ou encore Bruno Serralongue, ainsi que de photographes moins connus comme Géraldine Millo, David Marlé ou Mahaut Lavoine. Les textes rassemblés créent une unité de réflexion autour d'une photographie critique des contextes historiques, esthétiques et idéologiques dans lesquels elle se crée aujourd'hui, une "photographie documentaire critique". Mais la critique vient aussi des confrontations, frottements et écarts qui, dans les oeuvres, ouvrent un espace réflexif pour les spectateurs. Chaque texte ouvre une nouvelle facette de cette photographie, alors que l'ensemble est introduit par un texte qui entend proposer une méthodologie de travail, une "attitude documentaire". Le livre explore ainsi les apports d'une posture critique, dans tous les sens du terme - appréciation, épreuve, seuil, distance, tension, crise, analyse - et s'achève par la formulation d'un "manifeste documentaire" (écrit avec la philosophe Christiane Vollaire). Conscient des aspects polémiques que se position pourrait susciter, l'auteur souhaite ainsi participer aux discussions sur la place des images photographiques dans l'espace public. A ce titre, l'ouvrage intéressera toutes celles et tous ceux qui s'interrogent sur le rôle possible de contre-pouvoir de la photographie documentaire."
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