The Photography reader.
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Copy number Shelfmark Shelf mark R009412 Ned. Fotomuseum $T WELLS.L 2003
TitleThe Photography reader.
Author
Photographer
PublisherRoutledge
Year of publication2003
Pagination466
Illustrationsb&w
DimensionsA4
MaterialTekstboek
Document TypeBook
ISBN0-415-24661X
Bibliographic Notespb, index;
SubjectBloemlezing, Fotoarchieven, Fotokritiek, Digitale beeldbewerking, documentaire fotografie, Onderwijs en fotografie, Gezinsfotografie, Feminisme en fotografie, fotomusea en foto-galeries, Fototherapie, Post-modernisme en fotografie, Psychoanalyse en fotografie, Representatie en fotografie, Semiologie en fotografie, Theorie van de fotografie, Filosofie van de fotografie, Visuele sociologie, Geschiedenis van de documentaire fotografie, Massamedia en fotografie, Theorie van de fotojournalistiek
Abstract
[TABLE OF CONTENTS: ]
PART ONE
REFLECTIONS ON PHOTOGRAPHY
INTRODUCTION
1. Roland Barthes: EXTRACTS FROM CAMERA LUCIDA ;
2. Marjorie Perloff: WHAT HAS OCCURRED ONLY ONCE: BARTHES'S WINTER GARDEN/BOLTANSKI'S ARCHIVES OF THE DEAD ;
3. Walter Benjamin: EXTRACTS FROM THE WORK OF ART IN THE AGE OF MECHANICAL REPRODUCTION ;
4. W. J. T. Mitchell: BENJAMIN AND THE POLITICAL ECONOMY OF THE PHOTOGRAPH ;
5. Susan Sontag: PHOTOGRAPHY WITHIN THE HUMANITIES ;
6. Wright Morris: IN OUR IMAGE ;
7. Peter Wollen: FIRE AND ICE ;
PART TWO
PHOTOGRAPHIC SEEING
INTRODUCTION
8. Hubert Damisch: FIVE NOTES FOR A PHENOMENOLOGY OF THE PHOTOGRAPHIC IMAGE ;
9. Ossip Brik: WHAT THE EYE DOES NOT SEE ;
10. Laszlo Moholy-Nagy: A NEW INSTRUMENT OF VISION ;
11. John Szarkowski: INTRODUCTION TO THE PHOTOGRAPHER'S EYE ;
12. Edward Weston: SEEING PHOTOGRAPHICALLY ;
PART THREE
CODES AND RHETORIC
INTRODUCTION
13. Roland Barthes: RHETORIC OF THE IMAGE ;
14. Umberto Eco: A PHOTOGRAPH ;
15. Victor Burgin: LOOKING AT PHOTOGRAPHS ;
16. Christian Metz: PHOTOGRAPHY AND FETISH ;
PART FOUR
PHOTOGRAPHY AND THE POSTMODERN
INTRODUCTION
17. Abigail Solomon-Godeau: WINNING THE GAME WHEN THE RULES HAVE BEEN CHANGED: ART PHOTOGRAPHY AND POSTMODERNISM ;
18. Andy Grundberg: THE CRISIS OF THE REAL: PHOTOGRAPHY AND POSTMODERNISM ;
19. Steve Edwards: SNAPSHOOTERS OF HISTORY: PASSAGES ON THE POSTMODERN ARGUMENT ;
PART FIVE
PHOTO-DIGITAL
INTRODUCTION
20. Sarah Kember: "THE SHADOW OF THE OBJECT": PHOTOGRAPHY AND REALISM ;
21. Martin Lister: EXTRACTS FROM INTRODUCTION TO THE PHOTOGRAPHIC IMAGE IN DIGITAL CULTURE ;
22. Geoffrey Batchen: PHOTOGENICS ;
23. Lev Manovich: THE PARADOXES OF DIGITAL PHOTOGRAPHY ;
PART SIX
DOCUMENTARY AND PHOTOJOURNALISM
INTRODUCTION
24. John Tagg: EVIDENCE, TRUTH AND ORDER: PHOTOGRAPHIC RECORDS AND THE GROWTH OF THE STATE ;
25. Martha Rosler: IN, AROUND, AND AFTERTHOUGHTS (ON DOCUMENTARY PHOTOGRAPHY) ;
26. Lisa Henderson: ACCESS AND CONSENT IN PUBLIC PHOTOGRAPHY ;
28. Karin E. Becker: PHOTOJOURNALISM AND THE TABLOID PRESS ;
29. Edmundo Desnoes: CUBA MADE ME SO ;
PART SEVEN
THE PHOTOGRAPHIC GAZE
INTRODUCTION
30. Roberta McGrath: RE-READING EDWARD WESTON: FEMINISM, PHOTOGRAPHY AND PSYCHOANALYSIS ;
31. Jan Avgikos: CINDY SHERMAN: BURNING DOWN THE HOUSE ;
32. Lucy R. Lippard: DOUBLETAKE: THE DIARY OF A RELATIONSHIP WITH AN IMAGE ;
33. Catherine Lutz and Jane Collins: THE PHOTOGRAPH AS AN INTERSECTION OF GAZES THE EXAMPLE OF NATIONAL GEOGRAPHIC ;
PART EIGHT
IMAGE AND IDENTITY
INTRODUCTION
34. David A. Bailey and Stuart Hall: THE VERTIGO OF DISPLACEMENT ;
35. bell hooks: IN OUR GLORY: PHOTOGRAPHY AND BLACK LIFE ;
36. Annette Kuhn: REMEMBRANCE: THE CHILD I NEVER WAS ;
37. Rosy Martin and Jo Spence: PHOTO-THERAPY: PSYCHIC REALISM AS A HEALING ART? ;
38. Angela Kelly: SELF IMAGE: PERSONAL IS POLITICAL ;
PART NINE
CONTEXTS: GALLERY, MUSEUM, EDUCATION, ARCHIVE
INTRODUCTION
39. Douglas Crimp: THE MUSEUM'S OLD, THE LIBRARY'S NEW SUBJECT ;
40. Liz Wells: WORDS AND PICTURES: ON REVIEWING PHOTOGRAPHY ;
41. David Bate: ART, EDUCATION, PHOTOGRAPHY ;
42. Allan Sekula: READING AN ARCHIVE: PHOTOGRAPHY BETWEEN LABOUR AND CAPITAL ;
INDEX
[from the blurb: ]
=
The Photography Reader is a comprehensive collection of twentieth-century writings on photography - its production, its uses and effects. Encompassing essays by photographers including Edward Weston and Laszlo Moholy-Nagy, and key thinkers from Walter Benjamin to Roland Barthes and Susan Sontag, the Reader traces the development of ideas about photography, exploring issues such as identity, consumption, the gaze, and digital technology. Each themed section features an editor's introduction setting ideas and debates in their historical and theoretical context.
Sections include: Reflections on Photography; Photographic Seeing; Codes and Rhetoric; Photography and the Postmodern; Photo-digital; Documentary and Photojournalism; The Photographic Gaze; Image and Identity; Institutions and Contexts.
Includes essays by: Jan Avgikos, David A. Bailey, Roland Barthes, Geoffrey Batchen, David Bate, Karin E. Becker, Walter Benjamin, John Berger, Ossip Brik, Victor Burgin, Jane Collins, Douglas Crimp, Hubert Damisch, Edmundo Desnoes, Umberto Eco, Steve Edwards, Andy Grundberg, Stuart Hall, Lisa Henderson, bell hooks, Angela Kelly, Sarah Kember, Annette Kuhn, Lucy R. Lippard, Martin Lister, Catherine Lutz, Roberta McGrath, Lev Manovich, Rosy Martin, Christian Metz, W. J. T. Mitchell, Laszlo Moholy-Nagy, Wright Morris, Marjorie Perloff, Martha Rosier, Allan Sekula, Abigail Solomon-Godeau, Susan Sontag, Jo Spence, John Szarkowski, John Tagg, Liz Wells, Edward Weston, Peter Wollen.
=
PART ONE
REFLECTIONS ON PHOTOGRAPHY
INTRODUCTION
1. Roland Barthes: EXTRACTS FROM CAMERA LUCIDA ;
2. Marjorie Perloff: WHAT HAS OCCURRED ONLY ONCE: BARTHES'S WINTER GARDEN/BOLTANSKI'S ARCHIVES OF THE DEAD ;
3. Walter Benjamin: EXTRACTS FROM THE WORK OF ART IN THE AGE OF MECHANICAL REPRODUCTION ;
4. W. J. T. Mitchell: BENJAMIN AND THE POLITICAL ECONOMY OF THE PHOTOGRAPH ;
5. Susan Sontag: PHOTOGRAPHY WITHIN THE HUMANITIES ;
6. Wright Morris: IN OUR IMAGE ;
7. Peter Wollen: FIRE AND ICE ;
PART TWO
PHOTOGRAPHIC SEEING
INTRODUCTION
8. Hubert Damisch: FIVE NOTES FOR A PHENOMENOLOGY OF THE PHOTOGRAPHIC IMAGE ;
9. Ossip Brik: WHAT THE EYE DOES NOT SEE ;
10. Laszlo Moholy-Nagy: A NEW INSTRUMENT OF VISION ;
11. John Szarkowski: INTRODUCTION TO THE PHOTOGRAPHER'S EYE ;
12. Edward Weston: SEEING PHOTOGRAPHICALLY ;
PART THREE
CODES AND RHETORIC
INTRODUCTION
13. Roland Barthes: RHETORIC OF THE IMAGE ;
14. Umberto Eco: A PHOTOGRAPH ;
15. Victor Burgin: LOOKING AT PHOTOGRAPHS ;
16. Christian Metz: PHOTOGRAPHY AND FETISH ;
PART FOUR
PHOTOGRAPHY AND THE POSTMODERN
INTRODUCTION
17. Abigail Solomon-Godeau: WINNING THE GAME WHEN THE RULES HAVE BEEN CHANGED: ART PHOTOGRAPHY AND POSTMODERNISM ;
18. Andy Grundberg: THE CRISIS OF THE REAL: PHOTOGRAPHY AND POSTMODERNISM ;
19. Steve Edwards: SNAPSHOOTERS OF HISTORY: PASSAGES ON THE POSTMODERN ARGUMENT ;
PART FIVE
PHOTO-DIGITAL
INTRODUCTION
20. Sarah Kember: "THE SHADOW OF THE OBJECT": PHOTOGRAPHY AND REALISM ;
21. Martin Lister: EXTRACTS FROM INTRODUCTION TO THE PHOTOGRAPHIC IMAGE IN DIGITAL CULTURE ;
22. Geoffrey Batchen: PHOTOGENICS ;
23. Lev Manovich: THE PARADOXES OF DIGITAL PHOTOGRAPHY ;
PART SIX
DOCUMENTARY AND PHOTOJOURNALISM
INTRODUCTION
24. John Tagg: EVIDENCE, TRUTH AND ORDER: PHOTOGRAPHIC RECORDS AND THE GROWTH OF THE STATE ;
25. Martha Rosler: IN, AROUND, AND AFTERTHOUGHTS (ON DOCUMENTARY PHOTOGRAPHY) ;
26. Lisa Henderson: ACCESS AND CONSENT IN PUBLIC PHOTOGRAPHY ;
28. Karin E. Becker: PHOTOJOURNALISM AND THE TABLOID PRESS ;
29. Edmundo Desnoes: CUBA MADE ME SO ;
PART SEVEN
THE PHOTOGRAPHIC GAZE
INTRODUCTION
30. Roberta McGrath: RE-READING EDWARD WESTON: FEMINISM, PHOTOGRAPHY AND PSYCHOANALYSIS ;
31. Jan Avgikos: CINDY SHERMAN: BURNING DOWN THE HOUSE ;
32. Lucy R. Lippard: DOUBLETAKE: THE DIARY OF A RELATIONSHIP WITH AN IMAGE ;
33. Catherine Lutz and Jane Collins: THE PHOTOGRAPH AS AN INTERSECTION OF GAZES THE EXAMPLE OF NATIONAL GEOGRAPHIC ;
PART EIGHT
IMAGE AND IDENTITY
INTRODUCTION
34. David A. Bailey and Stuart Hall: THE VERTIGO OF DISPLACEMENT ;
35. bell hooks: IN OUR GLORY: PHOTOGRAPHY AND BLACK LIFE ;
36. Annette Kuhn: REMEMBRANCE: THE CHILD I NEVER WAS ;
37. Rosy Martin and Jo Spence: PHOTO-THERAPY: PSYCHIC REALISM AS A HEALING ART? ;
38. Angela Kelly: SELF IMAGE: PERSONAL IS POLITICAL ;
PART NINE
CONTEXTS: GALLERY, MUSEUM, EDUCATION, ARCHIVE
INTRODUCTION
39. Douglas Crimp: THE MUSEUM'S OLD, THE LIBRARY'S NEW SUBJECT ;
40. Liz Wells: WORDS AND PICTURES: ON REVIEWING PHOTOGRAPHY ;
41. David Bate: ART, EDUCATION, PHOTOGRAPHY ;
42. Allan Sekula: READING AN ARCHIVE: PHOTOGRAPHY BETWEEN LABOUR AND CAPITAL ;
INDEX
[from the blurb: ]
=
The Photography Reader is a comprehensive collection of twentieth-century writings on photography - its production, its uses and effects. Encompassing essays by photographers including Edward Weston and Laszlo Moholy-Nagy, and key thinkers from Walter Benjamin to Roland Barthes and Susan Sontag, the Reader traces the development of ideas about photography, exploring issues such as identity, consumption, the gaze, and digital technology. Each themed section features an editor's introduction setting ideas and debates in their historical and theoretical context.
Sections include: Reflections on Photography; Photographic Seeing; Codes and Rhetoric; Photography and the Postmodern; Photo-digital; Documentary and Photojournalism; The Photographic Gaze; Image and Identity; Institutions and Contexts.
Includes essays by: Jan Avgikos, David A. Bailey, Roland Barthes, Geoffrey Batchen, David Bate, Karin E. Becker, Walter Benjamin, John Berger, Ossip Brik, Victor Burgin, Jane Collins, Douglas Crimp, Hubert Damisch, Edmundo Desnoes, Umberto Eco, Steve Edwards, Andy Grundberg, Stuart Hall, Lisa Henderson, bell hooks, Angela Kelly, Sarah Kember, Annette Kuhn, Lucy R. Lippard, Martin Lister, Catherine Lutz, Roberta McGrath, Lev Manovich, Rosy Martin, Christian Metz, W. J. T. Mitchell, Laszlo Moholy-Nagy, Wright Morris, Marjorie Perloff, Martha Rosier, Allan Sekula, Abigail Solomon-Godeau, Susan Sontag, Jo Spence, John Szarkowski, John Tagg, Liz Wells, Edward Weston, Peter Wollen.
=
| Copy number | R009412 |
| Institution name | |
| Shelf mark | $T WELLS.L 2003 |