Adams, Robert (1996) Beauty in Photography, New York: Aperture
Ades, Dawn (1974) Dada and Surrealism, London: Thames and Hudson
Addison, Graeme (1984) ‘Drum Beat: An examination of Drum’, Creative Camera: 235/236, July/August: 1465
AFP (2003) ‘Pan-European Security Body Slams TV for Turning War into Entertainment’, 1 April, www.spacedaily.com/2003/030401163856.i0695hif.html
Agee, J. and Evans, W. (1941) Let Us Now Praise Famous Men, New York: Random House
Aitken, Ian (1990) Film and Reform, London: Routledge
Alexander, S. (1998) ‘Photographic Institutions and Practices’ in Michel Frizot A New History of Photography, Cologne: Könemann
Allan, Stuart (2006) Online News: Journalism and the Internet, Buckingham: Open University Press
Allen, M. (1998) ‘From Bwana Devil to Batman Forever: Technology in Contemporary Hollywood Cinema’ in Steve Neale, and Murray Smith (eds) Contemporary Hollywood Cinema, London: Routledge
Alloula, Malek (1987) The Colonial Harem, Manchester: Manchester University Press
Alloway, Lawrence (1966) ‘The Development of British Pop’ in Lucy R. Lippart, (ed.) Pop Art, London: Thames and Hudson
Arnason, H.H. (1988) A History of Modern Art, London: Thames and Hudson, third edition (updated and revised to include photography)
Arnason, H.H. And Kalb, P. (2004) History of Modern Art, Upper Saddle River, NJ: Pearson Education. Fifth edition
Arts Council (1972) From Today Painting is Dead, London: Arts Council
Arts Council (1975) The Real Thing, An Anthology of British Photographers 1840–1950, London: Arts Council
Arts Council (1979) Three Perspectives on Photography, London: Arts Council
Arts Council (1987) Independent Photography and Photography in Education, London: Arts Council
Arts Council (1991) Shocks to the System, London: The South Bank Centre
Ascott, R. (1996) ‘Photography at the Interface’ in T. Druckery, (ed.) Electronic Culture: Technology and Visual Representation, New York: Aperture
Axelmunden, V.H., Iglhaut, Stefan and Roetzer, Florian (eds) in collaboration with Alexis Cassel and Nikolaus G. Schneider (1996) ‘Photography after Photography: Memory and Representation in the Digital Age’, Amsterdam: OP17 and Munich: Siemens Kulturprogramm
Bacher, Fred (1992) ‘The Popular Condition: Fear and Clothing in LA’, The Humanist, September/October
Back, L. and Quaade, V. (1993) ‘Dream Utopias, Nightmare Realities: Imagining Race and Culture within the World of Benetton’, Third Text 22
Badger, Gerry (2007) The Genius of Photography—How Photography has Changed our Lives, London: Quadrille
Badger, Gerry and Benton-Harris, John (eds) (1989) Through the Looking Glass, London: Barbican Art Gallery
Badmington, Neil (2000) Posthumanism, New York: Palgrave
Bailey, David (1988) ‘Re-thinking Black Representations’, Ten/8 31
Bailey, David (1989) ‘People of the World’ in P. Wombell, (ed.) The Globe: Representing the World, York: Impressions Gallery
Bailey, David and Hall, Stuart (eds) (1992) Ten/8 2(3), Critical Decade
Baker, Lindsay (1991) ‘Taking Advertising to its Limit’, The Times, 22 July, p. 29
Bakhtin, Mikhail (1984) Rabelais and His World, Bloomington, IN: Indiana University Press
Baldwin, Gordon and Jürgens, Martin (2009) Looking at Photographs: A Guide to Technical Terms, Los Angeles: Getty Publications. Revised edition
Barrett, M. and McIntosh, M. (1982) The Anti-social Family, London: Verso
Barthes, Roland (1973 [1957]) Mythologies, London: Granada. Republished in London by Grafton Books, 1986
Barthes, Roland (1977a) ‘The Photographic Message’ in S. Heath, (ed.) Image, Music, Text, London: Fontana
Barthes, Roland (1977b) ‘The Rhetoric of the Image’ in S. Heath (ed.) op. cit.
Barthes, Roland (1977c) ‘The Third Meaning’ in S. Heath (ed.) op. cit.
Barthes, Roland (1984 [1980]) Camera Lucida, London: Fontana. Previous English publication 1981, New York: Hill and Wang
Batchen, Geoffrey (1990) ‘Burning with Desire: The Birth and Death of Photography’, Afterimage, January
Batchen, Geoffrey (1997) Burning With Desire, Cambridge, MA: The MIT Press
Batchen, Geoffrey (1998) ‘Spectres of Cyberspace’ in Nicholas Mirzeoff, (ed.) The Visual Culture Reader, London and New York: Routledge
Batchen, Geoffrey (2001) ‘Ectoplasm’ in Each Wild Idea: Writing: Photography: History, Cambridge, MA and London: The MIT Press
Batchen, Geoffrey (2003 [1998]) ‘Photogenics’ in L. Wells (ed.) The Photography Reader, London and New York: Routledge.
Batchen, Geoffrey (2004) Forget Me Not—Photography and Remembrance, Amsterdam: Van Gogh Museum, and New York: Princeton Architectural Press
Batchen, Geoffrey (2007) ‘Dividing History’, Source 52, Autumn
Batchen, Geoffrey (2008) ‘Snapshots, Art History and the Ethnographic Turn’, photographies 1(2), Autumn
Batchen, Geoffrey (ed.) (2009) Photography Degree Zero: Reflections on Roland Barthes’s Camera Lucida, Cambridge, MA: The MIT Press
Batchen, Geoffrey (2012) ‘Looking Askance’ in Geoffrey Batchen, Mick Gidley, Nancy K. Millar, and Jay Prosser (eds) Picturing Atrocity: Photography in Crisis, London: Reaktion Books
Bate, David (1993) ‘Photography and the Colonial Vision’, Third Text 22
Bate, David (2001) ‘Blowing it: Digital Images and the Real’, DPICT 7, April/May
Bate, David (2004) Photography and Surrealism, London: I.B.Tauris
Bate, David (2009) Photography, The Key Concepts. Oxford and New York: Berg
Baudelaire, Charles (1859) ‘The Salon of 1859’, reprinted in P.E. Charvet (ed.) (1992) Baudelaire, Selected Writings on Art and Artists, Harmondsworth: Penguin
Baudrillard, Jean (1983) ‘The Ecstasy of Communication’ in H. Foster, (ed.) The Anti-aesthetic, Washington, DC: Bay Press
Baudrillard, Jean (1995) The Gulf War Did Not Take Place, Bloomington, IN: Indiana University Press
Baudrillard, Jean (1998) ‘The Finest Consumer Object’ in The Consumer Society: Myths and Structures, London: Sage
Bazin, André (1967) ‘The Ontology of the Photograph’ in What is Cinema? Vol. 1, Berkeley, Los Angeles and London: University of California Press
Becker, K. (1991) ‘To Control our Image: Photojournalists Meeting New Technology’ in P. Wombell, (ed.) PhotoVideo: Photography in the Age of the Computer, London: Rivers Oram Press
Bede, Cuthbert (1855) Photographic Pleasures, London
Behdad, Ali and Gartlan, Luke (eds) (2013) Photography’s Orientalism: New Essays on Colonial Representation, Los Angeles: Getty Research Institute
Belisle, Brooke (2011) ‘Felt Surface, Visible Image: Lorna Simpson’s Photography and the Embodiment of Appearance’, Photography and Culture 4(2): 157–178
Beloff, Halla (1985) Camera Culture, Oxford: Blackwell
Belting, Hans (2011) An Anthropology of Images, Princeton: Princeton University Press
Belussi, Fiorenza (1987) Benetton: Information Technology in Production and Distribution: A Case Study of the Innovative Potential of Traditional Sectors, Brighton: SPRU, University of Sussex
Benetton (1993) Global Vision: United Colors of Benetton, Tokyo: Robundo
Benjamin, Walter (1931a) ‘A Short History of Photography’ in One Way Street (1979), London: New Left Books. Also published (1972) as ‘A Short History of Photography’, Screen 13(1)
Benjamin, Walter (1931b) ‘Unpacking My Library’ in Illuminations, London: Jonathan Cape, 1970; Fontana, 1973/1992. Originally published in Literarische Welt, 1931
Benjamin, Walter (1934) ‘The Author as Producer’ in V. Burgin (ed.) (1982) Thinking Photography, London and Basingstoke: Macmillan
Benjamin, Walter (1936) ‘The Work of Art in an Age of Mechanical Reproduction’ in Hannah Arendt (ed.) Illuminations, London: Fontana. Revised edition 1992. Originally published in Zeitschrift für Sozialforschung 5(1), 1936
Benjamin, Walter (1938) ‘The Paris of the Second Empire in Baudelaire’ in Charles Baudelaire: A Lyric Poet in the Era of High Capitalism, London: Verso, 1985
Benjamin, Walter (1939) ‘Some Motifs in Baudelaire’ in Hannah Arendt, (ed.) Illuminations, London: Fontana
Bennett, Jane (2010) Vibrant Matter: A Political Ecology of Things, Durham, NC: Duke University Press
Benson, Richard (2008) The Printed Picture, New York: Museum of Modern Art
Benson, S.H. (n.d.) Some Examples of Benson Advertising, S.H. Benson Firm
Berger, John (1972a) Ways of Seeing, Harmondsworth: Penguin
Berger, John (1972b) ‘The Political Uses of Photomontage’ in Selected Essays and Articles, The Look of Things, Harmondsworth: Penguin
Berger, J. and Mohr, J. (2002) Another Way of Telling, London and New York: Writers Publishing Cooperative Society Ltd
Bernstein, B. (1971) Class, Codes and Control, Vol. 1, Theoretical Studies Towards a Sociology of Language, London: Routledge & Kegan Paul
Best, S. and Keller, D. (1991) Postmodern Theory: Critical Interrogations, London: Macmillan
Bezencenet, Stevie (1982a) ‘What is a History of Photography?’, Creative Camera 208, April
Bezencenet, Stevie (1982b) ‘Thinking Photography’, Creative Camera 215, November
Bhabha, H. (1990) ‘Novel Metropolis’, New Statesman and Society, 9 February
Binkley, T. (1993) ‘Refiguring Culture’ in P. Hayward, and T. Wollen (eds) Future Visions: New Technologies of the Screen, London: BFI
Bishton, D. and Rearden, J. (eds) (1984) ‘Black Image—Staying On’, Ten/8 16
Blood on the Carpet (2001) Blood, Sweaters and Sears, BBC2, 9 January
Boddy, W. (1994) ‘Archaeologies of Electronic Vision and the Gendered Spectator’, Screen 35(2): 105–222
Bode, S. and Wombell, P. (1991) ‘Introduction: In a New Light’ in P. Wombell, (ed.) PhotoVideo: Photography in the Age of the Computer, London: Rivers Oram Press
Boffin, T. and Fraser, J. (1991) Stolen Glances: Lesbians Take Photographs, London: Pandora Press
Bolt, Barbara and Barrett, Estelle (2014) Carnal Knowledges, London: Routledge
Bolter, Jay David and Grusin, Richard (1999) ‘Digital Photography’ in Remediation: Understanding New Media, Cambridge, MA, and London: The MIT Press
Bolton, Richard (ed.) (1989) The Contest of Meaning, Cambridge, MA: The MIT Press
Bourdieu, P. (1990 [1965]) Photography: A Middle Brow Art, London: Polity Press
Braden, Su (1978) Artists and People, London: Routledge & Kegan Paul
Brandt, Bill (1961) Perspective of Nudes, London: The Bodley Head
Braun, Marta (1992) Picturing Time: The Work of Etienne-Jules Marey (1830–1904), Chicago, IL: University of Chicago Press
Breton, André (1978) What is Surrealism? Selected Writings in F. Rosement (ed. and introduction), London: Pluto Press
Bright, Deborah (1989) ‘Of Mother Nature and Marlboro Men: An Inquiry into the Cultural Meanings of Landscape Photography’ in Richard Boston, (ed.) The Contest of Meaning, Cambridge, MA: The MIT Press
Bright, Deborah (ed.) (1998) The Passionate Camera: Photography and Bodies of Desire, London and New York: Routledge
Bright, Susan (2010) Auto Focus: The Self-Portrait in Contemporary Photography, London: Thames and Hudson
Bright, Susan (2013) Home Truths: Photography and Motherhood, London: Art/Books
Brittain, D. (ed.) (1999) Creative Camera: 30 Years of Writing, Manchester: Manchester University Press
Brookes, Rosetta (1992) ‘Fashion Photography’ in J. Ash, and E. Wilson (eds) Chic Thrills: A Fashion Reader, London: Pandora
Broomberg, Adam and Chanarin, Oliver (2008) ‘Unconcerned but not Indifferent’, Foto 8. Reprinted in Julian Stallabrass (ed.) Documentary, Whitechapel Gallery and MIT Press, 2013, p. 99
Brown, Beverley (1981) ‘A Feminist Interest in Pornography: Some Modest Proposals’ in Parveen Adams and Elizabeth Cowie (1990) The Woman in Question, London and New York: Verso
Buck-Morse, S. (1991) The Dialectics of Seeing: Walter Benjamin and the Arcades Project, Cambridge, MA: The MIT Press
Burgess, N. (2001) ‘From Golden Age to Digital Age’, DPICT 7, April/May
Burgin, Victor (ed.) (1982) Thinking Photography, London: Macmillan
Burgin, Victor (1986) ‘Re-Reading Camera Lucida’ in The End of Art Theory: Criticism and Postmodernity, London: Macmillan
Burgin, Victor (1991) ‘Realising the Reverie’, Ten/8 2(2), Digital Dialogues
Bush, Kate and Sladen, Mark (eds) (2006) In the Face of History: European Photographers in the 20th Century, London: Black Dog Publishing
Butler, Susan (1985) ‘From Today Black and White is Dead’ in D. Brittain (ed.) (1999) Creative Camera, Manchester: Manchester University Press
Butler, Susan (1989) Shifting Focus, Bristol: Arnolfini, and London: Serpentine
Butt, Gavin (1998) Men on the Threshold: The Making and Unmaking of the Sexual Subject in American Art 1948–1965, unpublished Ph.D. thesis, University of Leeds
Cameron, Fiona and Kenderdine, Sarah (eds) (2007) Theorizing Digital Cultural Heritage, Massachusetts: The MIT Press
Campany, David (2003) Art and Photography, London: Phaidon
Carlebach, M.L. (1992) The Origins of Photojournalism in America, Washington, DC: Smithsonian Institute
Carlson, Matt (2009) ‘The Reality of a Fake Image: News Norms, Photojournalistic Craft, and Brian Walski’s Fabricated Photograph’, Journalism Practice 3(2): 125–139
Carr, E.H. (1964) What is History?, Harmondsworth: Penguin
Cartier-Bresson, H. (1952) The Decisive Moment, New York: Simon and Schuster
Cartwright, Lisa (1995) Screening the Body: Tracing Medicine’s Visual Culture, Minneapolis and London: University of Minnesota Press
Castells, M. (2000) The Rise of the Network Society, Oxford and USA: Blackwell
Chadwick, Whitney (1985) Women Artists and the Surrealist Movement, London: Thames and Hudson
Chadwick, Whitney (1998) Mirror Images: Women, Surrealism and Self-representation, Cambridge, MA: The MIT Press
Chambers, Eddie (1999) ‘D-Max: An Introduction’ in Run Through the Jungle, Annotations 5, London: INIVA
Chanan, M. (1996) The Dream That Kicks, London: Routledge
Chandra, Mohini (2001) Album Pacifica, London: Autograph
Chester, Gail and Dickey, Julienne (eds) (1988) Feminism and Censorship: The Current Debate, Bridport, Dorset: Prism Press
Christian, J. (1990) ‘Paul Sandby and the Military Survey of Scotland’ in N. Alfrey, and J. Daniels (eds) Mapping the Landscape, Nottingham: University of Nottingham
Clark, Kenneth (1956) The Nude, Harmondsworth: Penguin
Clarke, Graham (1997) The Photograph, Oxford: Oxford University Press
Coe, B. (1989) ‘Roll Film Revolution’ in C. Ford (ed.) The Story of Popular Photography, Bradford: Century Hutchinson Ltd/National Museum of Photography, Film and Television
Coe, B. and Gates, P. (1977) The Snapshot Photograph: The Rise of Popular Photography 1888–1939, London: Ash and Grant
Coke, Van Deren (1972) The Painter and the Photograph, New Mexico: University of New Mexico Press
Coleman, A.D. (1979) Light Readings, New York: Oxford University Press
Connarty, Jane and Lanyon, Josephine (2006) Ghosting: The Role of the Archive Within Contemporary Artists’ Film and Video, Bristol: Picture This
Cook, Guy (1992) The Discourse of Advertising, Oxford: Oxford University Press
Cooper, Emmanuel (1990) Fully Exposed: The Male Nude in Photography, London: Unwin Hyman
Corner, John and Harvey, Sylvia (1990) ‘Heritage in Britain’, Ten/8 36
Corner, John and Harvey, Sylvia (eds) (1991) Enterprise and Heritage, London: Routledge
Cotton, Charlotte (2000) Imperfect Beauty: The Making of Contemporary Fashion Photographs, London: Victoria and Albert Museum
Cotton, Charlotte (2004) The Photograph as Contemporary Art, London: Thames and Hudson (revised edition 2014).
Craik, Jennifer (1994) ‘Soft Focus: Techniques of Fashion Photography’ in The Face of Fashion, London: Routledge
Crary, Jonathan (1993) Techniques of the Observer: On Vision and Modernity in the Nineteenth Century, Cambridge, MA: The MIT Press
Crary, Jonathan (1999) Suspensions of Perception: Attention, Spectacle and Modern Culture, Cambridge, MA: The MIT Press
Crawley, G. (1989) ‘Colour Comes to All’ in C. Ford (ed.) The Story of Popular Photography, Bradford: Century Hutchinson Ltd/National Museum of Photography, Film and Television
Crimp, Douglas (1995) On the Museum’s Ruins, Cambridge, MA: The MIT Press
Crimp, Douglas and Rolston, Adam (1990) AIDS Demo/Graphics, Seattle: Bay Press
Csikszentmihalyi, M. and Rochberg-Halton, E. (1992) The Meaning of Things: Domestic Symbols and the Self, Cambridge: Cambridge University Press
Curtis, Neal (1999) ‘The Body as Outlaw: Lyotard, Kafka and the Visible Human Project’, Body and Society 5(2–3): 249–366
Darley, A. (1990) ‘From Abstraction to Simulation: Notes on the History of Computer Imaging’ in P. Hayward, (ed.) Culture, Technology, and Creativity in the Late Twentieth Century, London: John Libbey and Co. Ltd
Darley, A. (1991) ‘Big Screen, Little Screen: The Archaeology of Technology’, Ten/8 2(2), Digital Dialogues
Davidoff, L. and Hall, C. (1976) ‘The Charmed Circle of Home’ in J. Mitchell, and A. Oakley (eds) The Rights and Wrongs of Women, Harmondsworth: Penguin
Davis, S. (1995) ‘Welcome Home Big Brother’, Wired Magazine, May
Debord, Guy (1970 [1967]) The Society of the Spectacle, Detroit: Black and Red
Deitch, Jeffrey (1992) Post Human, Amsterdam: Idea Books
Delpire, Robert and Frizot, Michel (1989) Histoire de Voir, Paris: Photo Poche
Dennett, Terry and Spence, Jo (1979) Photography/Politics: One, London: Photography Workshop
Dentith, Simon (1995) Bakhtinian Thought: An Introductory Reader, London: Routledge
Deroo, Rebecca (2002) ‘Colonial Collecting: French Women and Algerian Cartes Postales’ in Eleanor M. Hight, Gary D. Sampson (eds) Colonialist Photography: Imag(in)ing Race and Place, London and New York: Routledge
Devlin, Polly (1979) Vogue Book of Fashion Photography, London: Condé Nast
Dewdney, A. (1991) ‘More Than Black and White: The Extended and Shared Family Album’ in J. Spence, and P. Holland (eds) Family Snaps: The Meanings of Domestic Photography, London: Virago
Dewdney, A. and Boyd, F. (1995) ‘Television, Computers, Technology and Cultural Form’ in M. Lister, (ed.) The Photographic Image in Digital Culture, London and New York: Routledge
di Bello, Patrizia (2007) Women’s Albums and Photography in Victorian England: Ladies, Mothers and Flirts, London and Burlington, VT: Ashgate
di Bello, Patrizia, Wilson, Colette and Zamir, Shamoon (eds) (2012) The Photo Book, London: I B Tauris
Doherty, Robert J., Hurley, Jack F., Kloner, Jay M. and Ryant, Carl G. (1972) ‘Roy Stryker on FSA, SONJ, J&L’ in Peninah R. Petruck, (ed.) The Camera Viewed: Writings on Twentieth-century Photography, New York: E.P. Dutton
Doy, Gen (1996) ‘Out of Africa: Orientalism, Race and the Female Body’, Body and Society 2(4): 17–44
Drake, M. and Finnegan, R. (eds) (1994) Studying Family and Community History: 19th and 20th Centuries, Vol. 4, Sources and Methods: A Handbook, Cambridge: Cambridge University Press and the Open University Press
Druckery, T. (1991) ‘Deadly Representations or Apocalypse Now’, Ten/8 2(2): 16–27, Digital Dialogues
Dubin, Steven C. (1992) Arresting Images: Impolitic Art and Uncivil Actions, London and New York: Routledge
Duganne, E. (2007) ‘Photography After the Fact’ in M. Reinhardt, H. Edwards, and E. Duganne (eds) Beautiful Suffering: Photography and the Traffic in Pain, Chicago, IL: University of Chicago Press
Durand, R. (1999) ‘The Document, or the Lost Paradise of Authenticity’, Art Press 251
Durden, Mark (2006 [2001]) Dorothea Lange, London: Phaidon Press
Dworkin, Andrea (1981) Pornography: Men Possessing Women, London: The Women’s Press
Dyer, Geoff (2005) The Ongoing Moment, London: Little, Brown
Dyer, Richard (1997) White, London and New York: Routledge
Eastlake, Lady Elizabeth (1857) ‘Photography’, Quarterly Review, April. Reprinted in Beaumont Newhall (ed.) (1980) Photography: Essays and Images, London: Secker and Warburg
Eco, Umberto (1979) The Role of the Reader: Explorations in the Semiotics of Texts, London: Hutchinson
Eco, Umberto (1987) Travels in Hyperreality, London: Picador
Edwards, Elizabeth (ed.) (1992) Photography and Anthropology 1860–1920, New Haven, CT: Yale University Press
Edwards, Elizabeth (ed.) (2008) ‘Photographs, Orality and History’ in Elizabeth Edwards, and Kaushik Bhaumik (eds) Visual Sense, Oxford and New York: Berg
Edwards, Elizabeth and Hart, Janice (2004) Photographs Objects Histories: On the Materiality of Images, London and New York: Routledge
Edwards, Steve (1989) ‘The Snapshooters of History’, Ten/8 32
Edwards, Steve (2006) Photography, A Very Short Introduction, Oxford: Oxford University Press
Eileraas, Karina (2007) Between Image and Identity: Transnational Fantasy, Symbolic Violence and Feminist Misrecognition, Lanham, MD: Lexington Books
Elias, Norbert (1994) The Civilising Process: Vol. 1, History of Manners, Oxford: Blackwell
Elkins, James (2007) Photography Theory, London: Routledge
Ellis, J. (1991) Visible Fictions: Cinema, Television, Video, London and New York: Routledge
Emerling, Jae (2012) Photography, History and Theory, London and New York: Routledge
Ennis, Helen (2011) ‘Death and Digital Photography’, Cultural Studies Review 17(1): 125–245
Enos, Katherine (1997/1998) ‘Crash & Pornography Culture’, www.pomegranates.com
Evans, C. and Thornton, M. (1989) Women and Fashion: A New Look, London: Quartet
Evans, Jessica (ed.) (1997) The Camerawork Essays, London: Rivers Oram Press
Ewing, William (1991) ‘Perfect Surface’ in The Idealising Vision: The Art of Fashion Photography, New York: Aperture
Ewing, William (1994) The Body, London: Thames and Hudson
Ewing, William (1996) Inside Information: Imaging the Human Body, London: Thames and Hudson
Falconer, J. (2001) India: Pioneering Photographs 1850–1900, London: The British Library
Falk, Pasi (1997) ‘The Benetton-Toscani Effect—Testing the Limits of Conventional Advertising’ in Mica Nava, Andrew Blake, Iain MacRury and Barry Richards (eds) Buy this Book, London: Routledge
Felman, S. and Laub, D. (1992) Testimony: Crises of Witnessing in Literature, Psycho-analysis and History, London: Routledge
Ferguson, Russell (1992) ‘A Box of Tools: Theory and Practice’ in R. Ferguson, K. Fiss, and W. Olander (eds) Discourses: Conversations in Postmodernism, Art and Culture, Cambridge, MA: The MIT Press
Fernandez, H. (2012) The Latin American Photobook, New York: Aperture
Fijalkowski, Krzysztof, Richardson, Michael and Walker, Ian (eds) (2013) Surrealism and Photography in Czechoslovakia, London: Ashgate
Fisher, Andrea (1987) Let Us Now Praise Famous Women, London: Pandora
Flusser, Vilém (2000) Towards a Philosophy of Photography, London: Reaktion Books
Ford, C. (1989) The Story of Popular Photography, Bradford: Century Hutchinson Ltd/National Museum of Photography, Film and Television
Ford, C. (2003) Julia Margaret Cameron: 19th Century Photographer of Genius, London: National Portrait Gallery
Foster, Hal (1993) Compulsive Beauty, Cambridge, MA, and London: The MIT Press
Foster, Hal (1996) ‘Obscene, Abject, Traumatic’, October 78, Autumn
Frank, R. (2008 [1958/1959]) The Americans, Göttingen: Steidl & Washington/National Gallery of Fine Art
Freedman, Jim (1990) ‘Bringing it all Back Home: A Commentary on Into the Heart of Africa’, Museum Quarterly, February
Freud, Sigmund (1905) ‘Three Essays on Sexuality’ in Vol. 7 of Sigmund Freud (1953–1964) Standard Edition of the Complete Works, trans. James Strachey, London: Hogarth Press
Freud, Sigmund (1927) ‘Fetishism’ in Vol. 7 of Sigmund Freud (1953–1964) op. cit.
Freund, Gisele (1980) Photography and Society, London: Gordon Fraser
Friedberg, Anne (1993) Window Shopping: Cinema and the Postmodern, Berkeley: University of California Press
Frizot, Michel (ed.) (1998 [1994]) A New History of Photography, Cologne: Könemann
Frosh, Paul (2003) The Image Factory: Consumer Culture, Photography and the Visual Content Industry, Oxford and New York: Berg
Frye, Marilyn (1983) ‘Oppression and the Use of Definition’ in The Politics of Reality: Essays in Feminist Theory, Trumansburg, NY: The Crossing Press
Gabriel, T. (1995) ‘The Intolerable Gift’, unpublished conference paper, London: BFI
Galassi, Peter (1981) Before Photography, New York: MOMA
Galassi, Peter (1995) American Photography 1890–1965, New York: MOMA
Gamman, Lorraine and Makinen, Merja (1994) Female Fetishism: A New Look, London: Lawrence and Wishart
Garde-Hansen, J. (2013) ‘Friendship Photography: Memory, Mobility and Social Networking’ in Larsen, J. and Sandbye, M. Digital Snaps: The New Face of Photography London: I.B.Tauris
Gasser, Martin (1992) ‘Histories of Photography 1839–1939’, History of Photography 16(1), Spring
Gates, Kelly A. (2005) ‘Biometrics and Post-9/11 Technostalgia’, Social Text 83, 23(2), Summer
Gates, Kelly A. (2004) ‘The Past Perfect Promise Facial Recognition Technology’, Reseach of the Program in Arms Control Disarmament, and International Security University of Illinois at Urbana-Champaign, www.ideals.uiuc.edu/handle/2142/38
Geraghty, C. (1991) Women and Soap Opera: A Study of Prime Time Soaps, Cambridge: Polity Press
Gernsheim, Alison (1981 [1963]) Victorian and Edwardian Fashion, A Photographic Survey, New York: Dover. Revised edition
Gernsheim, Helmut and Gernsheim, Alison (1965) A Concise History of Photography, London: Thames and Hudson
Gernsheim, Helmut and Gernsheim, Alison (1969 [1955]) The History of Photography from the Earliest Use of the Camera Obscura in the Eleventh Century up to 1914, 2 vols, London and New York: McGraw-Hill
Gidal, T.N. (1973) Modern Photojournalism, New York: Macmillan
Giebelhausen, Joachim (1963) Techniques of Advertising Photography, Munich: Nicolaus Karpf
Gierstberg, F. and Suermondt, R. (2012) The Dutch Photobook, New York: Aperture
Gillis, J. (1997) A World of Their Own Making: A History of Myth and Ritual in Family Life, Oxford: Oxford University Press
Gilroy, Paul (2007) Black Britain: A Photographic History, London: Saqi Books
Giroux, Henry (1993) ‘Consuming Social Change: The “United Colors of Benetton”‘, Cultural Critique, 26: 5–32
Glückler, J. and Panitz, R. (2013) Survey of the Global Stock Image Market 2012, Part I: Players, Products, Business, Heidelberg: GSIM Research Group
Goddard, Angela (1998) The Language of Advertising: Written Texts, London: Routledge
Godfrey, Tony (1998) Conceptual Art, London: Phaidon
Goffman, Erving (1979) Gender Advertisements, London: Macmillan
Goldberg, Vicki (ed.) (1981) Photography in Print, Albuquerque: University of New Mexico
Goldman, Robert (1992) Reading Ads Socially, London: Routledge
Goldman, Robert and Papson, Stephen (1996) Sign Wars: The Cluttered Landscape of Advertising, New York: Guilford Press
Goldman, Robert and Papson, Stephen (1999) Nike Culture: The Sign of the Swoosh, Thousand Oaks, CA, and London: Sage
Graham, B. (1995) ‘The Panic Button (in which our Heroine Goes Back to the Future of Pornography)’ in M. Lister, (ed.) The Photographic Image in Digital Culture, London and New York: Routledge
Graham, Judith (1989) ‘Benetton “Colors” the Race Issue’, Advertising Age
Graham-Brown, Sarah (1988) Images of Women: The Portrayal of Women in Photography of the Middle East 1860–1950, London: Quartet Books
Gray, Camilla (1962) The Russian Experiment in Art, London: Thames and Hudson
Green, D. (1994) ‘Classified Subjects’, Ten/8 14: 30–37
Green, D. (ed.) (2003) Where is the Photograph? Brighton: Photoforum, and Maidstone: Photoworks
Green, Jonathan (1984) ‘The Painter as Photographer’ in American Photography, New York: Harry N. Abrams
Greenberg, Clement (1939) ‘Avant-garde and Kitsch’ in Art and Culture, Boston, MA: Beacon Press, 1961. Reprinted in C. Harrison and P. Wood (eds) (1992) Art in Theory 1900–1990, Oxford: Blackwell
Greenberg, Clement (1961) ‘Modernist Painting’. Reprinted in F. Frascina and J. Harris (eds) (1992) Art in Modern Culture, London: Phaidon
Greenberg, Clement (1964) ‘Four Photographers’. Reprinted in History of Photography 15(2) Summer 1991
Green-Lewis, Jennifer (1996) Framing the Victorians, Photography and the Culture of Realism, Ithaca, NY and London: Cornell University Press
Grey, C. (1991) ‘Theories of Relativity’ in J. Spence, and P. Holland (eds) Family Snaps: The Meanings of Domestic Photography, London: Virago
Griffin, Michael (1999) ‘The Great War Photographs: Constructing Myths of History and Photojournalism’, in B. Brennan and H. Hardt (eds) Picturing the Past: Media, History and Photography, Urbana, University of Illinois Press
Griffiths, P.J. (1971) Vietnam Inc., New York: Macmillan
Grundberg, Andy (1986) ‘Veins of Resemblance’ in P. Holland, J. Spence, and S. Watney (eds) Photography/Politics: Two, London: Comedia
Grundberg, Andy (1990a) ‘On the Dissecting Table’ in Carol Squiers The Critical Image, London: Lawrence and Wishart
Grundberg, Andy (1990b) ‘Photography in the Age of Electronic Simulation’ in Crisis of the Real, New York: Aperture
Grundberg, Andy (2005) ‘Point and Shoot: How the Abu Ghraib Images Redefine Photography’, American Scholar 74(1), Winter: 108
Gunning, Tom (1991) ‘Heard over the phone: the lonely villa and the De Lorde tradition of the terrors of technology’, Screen 32(2): 184–196
Gunthert, André (2008) ‘Digital Imaging Goes to War: The Abu Ghraib Photographs’ in photographies, 1(1), Spring: 103–12. Originally published in Etudes photographiques 15 (2004)
Gupta, Sunil (1986) ‘Northern Media, Southern Lives’ in P. Holland, J. Spence and S. Watney (eds) Photography/Politics: Two, London: Comedia
Gupta, Sunil (1990) ‘Photography, Sexuality and Cultural Difference’, Camerawork Quarterly 17(3)
Gupta, Sunil (ed.) (1993) Disrupted Borders: An Intervention in Definitions of Boundaries, London: Rivers Oram Press
Haddon, L. (1993) ‘Interactive Games’ in P. Hayward, and T. Wollen (eds) Future Visions: New Technologies of the Screen, London: BFI
Hafner, Katie (2007) ‘A Photo Trove, a Mounting Challenge’, New York Times, 10 April
Hall, C. (1979) ‘Early Formation of Victorian Domestic Ideology’ in S. Burman, (ed.) Fit Work for Women, London: Croom Helm
Hall, Stuart (1988) ‘The Work of Art in The Electronic Age’, Block 14
Hall, Stuart (1991) ‘Reconstruction Work: Images of Post-war Black Settlement’ in J. Spence, and P. Holland (eds) Family Snaps: The Meanings of Domestic Photography, London: Virago
Hall, Stuart (1993 [1980]) ‘Encoding/Decoding’ in S. Durring (ed.) The Cultural Studies Reader, London: Routledge
Hall, Stuart (ed.) (1997) Representation: Cultural Representations and Signifying Practices, London: Sage/Open University
Hall, Stuart (2013) Cultural Representations and Signifying Practice, London: Sage
Hamilton, P. and Hargreaves, R. (2001) The Beautiful and the Damned: The Creation of Identity in Nineteenth Century Photography, London: Lund Humphries in association with The National Portrait Gallery
Hanley, L. (2007) Estates: an Intimate History, London: Granta
Hannavy, J. (1975) Roger Fenton of Crimble Hall, London: Gordon Fraser
Hardy, B. (1977) ‘Bert Hardy’, Camerawork 8
Hariman, Robert and Lucaites, John Louis (2007) No Caption Needed, Iconic Photographs, Public Culture, and Liberal Democracy, Chicago, IL: University of Chicago Press
Harker, Margaret F. (1979) The Linked Ring: The Secession Movement in Photography in Britain 1892–1910, London: Heinemann
Harker, Margaret F. (1988) Henry Peach Robinson, Oxford and New York: Blackwell
Harrison, Charles and Wood, Paul (1993) ‘Modernity and Modernism Reconsidered’, ch. 3 of Paul Wood, Francis Frascina, Jonathan Harris and Charles Harrison Modernism in Dispute, London: Yale University Press and the Open University Press
Harrison, Martin (1991) Appearances: Fashion Photography Since 1945, London: Jonathan Cape
Harvey, D. (1989) The Condition of Postmodernity, Cambridge, MA: Blackwell
Harvie, C., Martin, G. and Scharf, A. (1970) Industrialisation and Culture 1830–1914, London: Macmillan and the Open University Press
Hawk, Thomas (2013) ‘Why I Quit Getty Images and Why I am Moving My Stock Photography Sales to Stocksy’, http://thomashawk.com/2013/03/why-i-quit-getty-images-and-why-im-moving-my-stock-photography-sales-to-stocksy.html
Haworth-Booth, Mark (ed.) (1975) The Land: Twentieth Century Landscape Photographs, selected by Bill Brandt, London: Gordon Fraser Gallery
Haworth-Booth, Mark (ed.) (1988) British Photography: Towards a Bigger Picture, New York: Aperture
Haworth-Booth, Mark (ed.) (1992) River Scene, France, Los Angeles, CA: J. Paul Getty Museum
Haworth-Booth, Mark (ed.) (1997) Photography: An Independent Art, London: V&A Publications
Hayles, N. Katherine (1999) How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics, Chicago, IL, and London: University of Chicago Press
Hayward, P. (1993) ‘Situating Cyberspace: The Popularisation of Virtual Reality’ in P. Hayward, and T. Walker (eds) Future Visions: New Technologies of the Screen, London: BFI
Heiferman, Marvin (1989) ‘Everywhere, All the Time, for Everybody’ in Marvin Heiferman, and Lisa Phillips (eds) Image World, New York: Whitney Museum of Art
Heim, M. (1995) ‘The Design of Virtual Reality’ in Mike Featherstone, and Roger Burrows (eds) Cyberspace, Cyberbodies, Cyberpunk: Cultures of Technological Embodiment, London, California and New Delhi: Sage
Heron, Liz and Williams, Val (1996) Illuminations: Women Writing on Photography from the 1850s to the Present, London and New York: I.B. Tauris
Hershkowitz, R. (1980) The British Photographer Abroad: The First Thirty Years, London: Robert Hershkowitz Ltd
Hewison, Robert (1987) The Heritage Industry, London: Methuen
Higonnet, A. (1998) Pictures of Innocence: The History and Crisis of Ideal Childhood, London: Thames and Hudson
Hiley, M. (1983) Seeing Through Photographs, London: Gordon Frazer
Hill, Paul and Cooper, Thomas (1992) Dialogue with Photography, Manchester: Cornerhouse Publications
Hinrichsen, Malte (2013) Racist Trademarks: Slavery, Orient, Colonialism and Commodity Culture, Berlin: LIT Verlag
Hirsch, J. (1981) Family Photography: Context, Meaning and Effect, New York: Oxford University Press
Hirsch, M. (1997) Family Frames: Photography, Narrative and Postmemory, Cambridge, MA: Harvard University Press
Hoelscher, Steven (ed.) (2013) Reading Magnum: A Visual Archive of the Modern World, Austin: University of Texas Press
Hoggart, Richard (1957) The Uses of Literacy, Harmondsworth: Penguin
Holland, P. (1991) ‘The Old Order of Things Changed’ in J. Spence, and P. Holland (eds) Family Snaps: The Meanings of Domestic Photography, London: Virago
Holland, P. (1992) What is a Child?, London: Virago
Holland, P. (1997) ‘Press Photography’ in A. Briggs, and P. Cobley (eds) Introduction to Media, London: Longman
Holland, P. (2004) Picturing Childhood: The Myth of the Child in Popular Imagery, London: I.B.Tauris
Holland, P. and Dewdney, A. (eds) (1992) The Child, Seen but Not Heard?, Bristol: Watershed Media Centre. Exhibition catalogue
Holland, Patricia and Sandon, Emma (2006) ‘Can Whiskey come too? Re-viewing Cultural Identity at the End of Empire’ in Anandi Ramamurthy and Simon Faulkner (eds) Visual Culture and Decolonisation in Britain, Aldershot: Ashgate, pp. 153–88
Holmes, Oliver Wendell (1859) ‘The Stereoscope and the Stereograph’, Atlantic Monthly 3. Reprinted in B. Newhall (ed.) (1980) Photography: Essays and Images, London: Secker and Warburg
Honey, N. (1992) Entering the Masquerade: Girls from Eleven to Fourteen, Bradford: National Museum of Photography, Film and Television
Hopkinson, T. (1962) In the Fiery Continent, London: Victor Gollancz
Horne, Donald (1984) The Great Museum: The Re-presentation of History, London: Verso
Howard, F. (1853) ‘Photography Applied to Fine Art’, Journal of the Photographic Society, London
Howarth, S. and McLaren, S. (2010) Street Photography, London: Thames and Hudson
Howe, P. David (2013) ‘Sport, the Body and the Technologies of Disability’ in David L. Andrews, and Ben Carrington (eds) A Companion to Sport (Blackwell Companions to Cultural Studies), Oxford: Wiley-Blackwell
Hudson, D. (1972) Munby, Man of Two Worlds, London: John Murray
Huhtamo, Erkki (1996) ‘From Kaleidoscope to Cybernerd: Notes Toward an Archeology of Media’ in T. Druckery, (ed.) Electronic Culture: Technology and Visual Representation, New York: Aperture
Hurley, Jack (1972) Portrait of a Decade: Roy Stryker and the Development of Documentary Photography in the Thirties, Baton Rouge: Louisiana State University Press
Hutchison, Robert (1982) The Politics of the Arts Council, London: Sinclair Browne
Iles, Chrissie and Roberts, Russell (eds) (1997) In Visible Light, Oxford: Museum of Modern Art
India Resource Centre (2013) ‘15 Village Councils Reject Coca-Cola Plans’, 18 April, www.indiaresource.org/news/2013/1008.html
Isherwood, C. (1939) Goodbye to Berlin, Harmondsworth: Penguin
Isherwood, S. (1988) The Family Album, London: Broadcasting Support Services
James, Sarah (2013) ‘Making an Ugly World Beautiful? Morality and Aesthetics in the Aftermath’ in J. Stallabrass, (ed.) Memory of Fire: Images of War and the War of Images, Brighton: Photoworks
Jameson, Fredric (1984) ‘Postmodernism or the Cultural Logic of Late Capitalism’, New Left Review 146, July/August
Jameson, Fredric (1991) Postmodernism, Or, the Cultural Logic of Late Capitalism, London: Verso
Jameson, Fredric (1993) ‘Postmodernism and Consumer Society’ in A. Gray, and J. McGuigan (eds) Studying Culture, London, New York, Melbourne and Auckland: Edward Arnold
Jay, Martin (1992) ‘Scopic Regimes of Modernity’ in S. Lash, and J. Friedman (eds) Modernity and Identity, Oxford: Blackwell
Jay, Martin (1993) Downcast Eyes: The Denigration of Vision in Twentieth Century French Thought, San Francisco: University of California Press
Jeffrey, Ian (2001) ‘Revisiting the histories of photography’ in Joan Fontcuberta Photography: Crisis of History, Barcelona: Actar
Jeffrey, Ian (1981) Photography, A Concise History, London: Thames and Hudson
Jeffrey, Ian (1982) ‘Some Sacred Sites’, Creative Camera 215, November
Jeffrey, Ian (1991) ‘Morality, Darkness and Light: The Metropolis in Pictures’ in Martin Caiger-Smith Site Work, London: The Photographers’ Gallery
Jhally, Sut (1990) Codes of Advertising, London: Routledge
Jhally, Sut (2006a) The Spectacle of Accumulation: Essays in Media, Culture and Politics, New York: Peter Lang
Jhally, Sut (2006b) ‘Advertising, Cultural Criticism and Pedagogy’ in The Spectacle of Accumulation: Essays in Media Culture and Politics, New York: Peter Lang
Jobling, Paul (1999) Fashion Spreads: Word and Image in Fashion Photography, Oxford: Berg
Johannesson, Lena and Knape, Gunnilla (eds) (2003) Women Photographers—European Experience, Gothenburg: Acta Universitatis Gothoburgensis
Jones, Amelia (2002) ‘The “Eternal Return”: Self-Portrait Photography as a Technology of Embodiment’, Signs: Journal of Women in Culture and Society 27: 4
Jukes, P. (1992) ‘The Work of Art in the Domain of Digital Production’, New Statesman and Society, 17 July: 40–1
Kalogeraki, K. (1991) ‘My Father’s Land’ in J. Spence, and P. Holland (eds) Family Snaps: The Meanings of Domestic Photography, London: Virago
Kaneko, R. and Vartanian, I. (2009) Japanese Photobooks of the 1960s and ‘70s, New York: Aperture
Kellner, Douglas (2003) Media Spectacle, London: Routledge
Kelly, A. (1979) ‘Feminism and Photography’ in P. Hill, A. Kelly and J. Tagg Three Perspectives on Photography, London: ACGB
Kelly, Mary (1981) ‘Reviewing Modernist Criticism’, Screen 22(3)
Kember, S. (1995a) ‘Medicine’s New Vision’ in M. Lister, (ed.) The Photographic Image in Digital Culture, London and New York: Routledge
Kember, S. (1995b) ‘Surveillance, Technology and Crime: The James Bulger Case’ in M. Lister, (ed.) The Photographic Image in Digital Culture, London: Routledge
Kember, S. (1998) Virtual Anxiety: Photography, New Technologies and Subjectivity, Manchester and New York: Manchester University Press.
Kember, S. (2003) ‘The Shadow of the Object: Photography and Realism’ in Liz Wells, (ed.) The Photography Reader, London and New York: Routledge. Originally published in 1996 in Textual Practice 10(1): 145–63
Kemp, Martin and Wallace, Marina (2000) Spectacular Bodies: The Art and Science of the Human Body from Leonardo to Now, London: Hayward Gallery Publishing
Kendrick, Walter (1987) The Secret Museum: Pornography in Modern Culture, New York: Viking. Republished in 1996 by University of California Press
Kenyon, D. (1992) Inside Amateur Photography, London: Batsford
Kern, Stephen (1983) The Culture of Time and Space 1800–1918, Cambridge, MA: The MIT Press
Kilbourne, Jean (2000) Can’t Buy My Love: How Advertising Changes the Way We Think and Feel, New York: Touchstone
Kipnis, Laura (1992) ‘(Male) Desire and (Female) Disgust: Reading Hustler’ in Lawrence Grossberg, Cary Nelson, and Paula Treichler (eds) Cultural Studies, London and New York: Routledge
Kippin, John (1995) Nostagia for the Future, London: The Photographers’ Gallery
Kismaric, Susan and Respini, Eva (2004) Fashioning Fiction in Photography since 1990, New York: MOMA.
Klein, Naomi (2000) No Logo: Taking Aim at the Brand Bullies, Toronto: Knopf
Kosinski, Dorothy (1999) The Artist and the Camera, Degas to Picasso, New Haven, CT: Yale University Press
Kotz, Liz (1998) ‘Aesthetics of Intimacy’ in Deborah Bright, (ed.) The Passionate Camera: Photography and Bodies of Desire, London and New York: Routledge
Kozloff, Max (1979) Photography and Fascination, New Hampshire: Addison House
Kozloff, Max (1987) The Privileged Eye, Albuquerque: University of New Mexico Press
Kracauer, Siegfried (1960) ‘Photography’, ch. 1 of Theory of Film, Oxford: Museum of Modern Art
Krauss, Rosalind (1981) ‘A Note on Photography and the Simulacral’, October, Winter.
Reprinted in Carol Squiers (ed.) (1991) The Critical Image, Seattle: Bay Press, and London: Lawrence and Wishart
Reprinted in Carol Squiers (ed.) (1986) The Originality of the Avant-garde and Other Modernist Myths, Cambridge, MA: The MIT Press
Krauss, Rosalind and Livingston, Jane (1986) L’Amour Fou, London: Arts Council of Great Britain
Kristeva, Julia (1982) Powers of Horror: An Essay on Abjection, New York: Columbia University Press
Kruger, Barbara (1983) We Won’t Play Nature to your Culture, London: Institute of Contemporary Arts
Kruger, Barbara (1990) Love for Sale: The Words and Pictures of Barbara Kruger, New York: Harry N. Abrams, Inc.
Kuenzli, Rudolf E. (1991) ‘Surrealism and Misogyny’ in Mary Ann Caws, Rudolf Kuenzli and Owen Raaberg Surrealism and Women, Cambridge, MA: The MIT Press
Kuhn, A. (1991) ‘Remembrance’ in J. Spence, and P. Holland (eds) Family Snaps: The Meanings of Domestic Photography, London: Virago
Kuhn, A. (2002) Family Secrets: Acts of Memory and Imagination, London: Verso
Lager Vestberg, Nina (2008) ‘Archival Value: On Photography, Materiality and Indexicality’, photographies 1(1), March: 49–65
Lalvani, Suren (1996) Photography, Vision, and the Production of Modern Bodies, Albany, NY: State University of New York Press
Landau, P.S. and Kaspin, D. (eds) (2002) Images and Empires: Visuality in Colonial and Post-colonial Africa, Berkeley, CA: University of California Press.
Lange, Dorothea (1960) ‘The Assignment I’ll Never Forget’ in Beaumont Newhall (ed.) (1980) Photography: Essays and Images, London: Secker and Warburg
Lange, Susanne (2006) Bernd and Hilla Becher: Life And Work, Cambridge, MA, and London: The MIT Press
Langford, M. (2001) Suspended Conversations, the Afterlife of Memory in Photographic Albums, Montreal: McGill-Queens University Press
Larsen, Jonas and Sandbye, Mette (eds) (2013) Digital Snaps: The New Face of Photography, London: I.B. Tauris
Latour, Bruno (2005) Reassembling the Social: An Introduction to Actor Network Theory, Oxford: Oxford University Press
Laurent, Olivier (2013) ‘Jury finds Agence France-Presse, Getty Images Guilty of Wilful Copyright Infringement, Awards $1.22m to Photojournalist’, British Journal of Photography, 23 November, www.bjp-online.com/2013/11/jury-finds-agence-france-presse-getty-images-guilty-of-wilful-copyright-infringement-awards-1–22m-to-photojournalist/
Lavin, Maud (1993) Cut with the Kitchen Knife: The Weimar Photomontages of Hannah Höch, New Haven, CT: Yale University Press
Lawrence, Francis (dir.) (2013) The Hunger Games: Catching Fire [film]
Lechte, John (1994) Fifty Key Contemporary Thinkers, London: Routledge
Leiss, W., Kline, S. and Jhally, S. (1986) Social Communication in Advertising, Toronto: Methuen
Lemagny, Jean-Claude and Rouille, André (1987) A History of Photography, Cambridge: Cambridge University Press
Leslie, Esther (2002) Hollywood Flatlands; Animation, Critical Theory and the Avant-garde, London: Verso
Lewinski, J. (1978) The Camera at War, London: W.H. Allen
Lewis, B. and Harding, D. (eds) (1992) Kept in a Shoebox: The Experience of Popular Photography, Bradford: Yorkshire Art Circus/National Museum of Photography, Film and Television
Linfield, Susie (2010) The Cruel Radiance: Photography and Political Violence, Chicago: University of Chicago Press
Linkman, Audrey (1993) The Victorians: Photographic Portraits, London: Tauris Parke Books
Linkman, Audrey (2011) Photography and Death, London: Reaktion Books
Linkman, A. and Warhurst, C. (1982) Family Albums, Manchester: Manchester Polytechnic
Lipton, Eunice (1980) ‘The Laundress in Nineteenth Century French Culture’, Art History 3(3): 215–313. Abridged version in Francis Frascina and Charles Harrison (1983) Modern Art and Modernism: A Critical Anthology, HarperCollins
Lister, M. (ed.) (1995) ‘Introductory Essay’ in M. Lister, (ed.) The Photographic Image in Digital Culture, London and New York: Routledge
Lister, M. (ed.) (2012) The Photographic Image in Digital Culture, London and New York: Routledge. Revised edition
Lister, M. (ed.) (2013) ‘Overlooking, rarely looking and not looking’ in Larsen, J. and Sandbye, M. Digital Snaps: The New Face of Photography, London: I.B. Tauris
Lister, M., Dovey, J., Giddings, S., Grant, I. and Kelly, K. (2008) New Media: A Critical Introduction, London and New York: Routledge
Lloyd, J. (1985) ‘Old Photographs, Vanished Peoples and Stolen Potatoes’, Art Monthly 83, February
Lovell, Terry (1980) ‘Is Art a Form of Knowledge?’ in Pictures of Reality, ch. 5.3, London: BFI
Lury, Celia (1992) ‘Popular Culture and the Mass Media’ in R. Bocock, and K. Thompson (eds) Social and Cultural Forms of Modernity, Cambridge: Polity Press
Lury, Celia (1998) Prosthetic Culture: Photography, Memory and Identity, London and New York: Routledge.
Lyons, Nathan (1966) Photographers on Photography, Englewood Cliffs, NJ: Prentice Hall
Lyotard, Jean-François (1985) ‘Argument’, Camerawork 32, Summer
McCauley, Elizabeth Anne (1994) Industrial Madness: Commercial Photography in Paris 1848–1871, New Haven, CT, and London: Yale University Press
Macleod, Duncan (2010) ‘McCain Pride Its All Good’, 25 September, http://theinspirationroom.com/daily/2010/mccain-pride-its-all-good/
McClintock, A. (1995) Imperial Leather: Race, Gender and Sexuality in the Colonial Conquest, London: Routledge
McCullin, Don (2003) Don McCullin, London: Jonathan Cape
Macdonald, G. (1979) Camera: A Victorian Eyewitness, London: Batsford. Based on a Granada television series
McGrath, R. (1984) ‘Medical Police’, Ten/8 14: 13–18
McRobbie, Angela (1997) ‘Bridging the Gap: Feminism, Fashion and Consumption’, Feminist Review 55, Spring: 73–89
Machin, David (2004) ‘Building the World’s Visual Language: The Increasing Global Importance of Image Banks in Corporate Media’, Journal of Visual Communication 3(3): 316–436
Magli, Patrizia (1989) ‘The Face and the Soul’ in M. Feher et al. (eds) Zone 4: Fragments for a History of the Human Body, Part Two, Cambridge, MA: Zone and The MIT Press
Makela, Tapio (1997) ‘Photography, Post-photography’, Creative Camera, April/May
Malina, R.F. (1990) ‘Digital Image—Digital Cinema: The Work of Art in the Age of Post-mechanical Reproduction’, Leonardo, Supplemental Issue: 33–8
Mann, S. (1992) Immediate Family, London: Phaidon
Manovich, L. (1996) ‘The Automation of Sight: From Photography to Computer Vision’, in T. Druckery (ed.) Electronic Culture: Technology and Visual Representation, New York: Aperture.
Manovich, L. (2001) ‘The Synthetic Image and its Subject’ in The Language of New Media, Cambridge, MA, and London: The MIT Press
Manovich, L. (2003) [1995] ‘The Paradoxes of Digital Photography’ in L. Wells (ed.) The Photography Reader, London and New York: Routledge.
Marks, Laura (2002) Touch: Sensuous Theory and Multisensory Media, Minneapolis: University of Minnesota Press
Martin, R. (1991) ‘Unwind the Ties That Bind’ in J. Spence, and P. Holland (eds) Family Snaps: The Meanings of Domestic Photography, London: Virago
Martin, Rosy and Spence, Jo (2003) ‘Photo-therapy: Psychic Realism as a Healing Art?’ in Liz Wells, (ed.) The Photography Reader, London: Routledge. Reprinted from Ten.8 30, 1988
Marvin, C. (1988) When Old Technologies Were New, New York: Oxford University Press
Matthews, S. and Wexler, L. (2000) Pregnant Pictures, London: Routledge
Mavor, C. (1996) Pleasures Taken: Performances of Sexuality and Loss in Victorian Photographs, London: I.B. Taurus
Mayer, Paul A. (1999) Computer Media and Communication, Oxford and New York: Oxford University Press
Mayhew, H. (1967 [1861]) London Labour and the London Poor, London: Frank Cass
Mayle, Peter (1983) Thirsty Work: Ten Years of Heineken Advertising, London: Macmillan
Maynard, P. (2000) [1997] The Engine of Visualization: Thinking Through Photographs, Ithaca, NY: Cornell University Press
Mayne, R. (1986) The Street Photographs of Roger Mayne, London: V&A Museum
Mellencamp, Patricia (1992) High Anxiety: Catastrophe, Scandal, Age and Comedy, Bloomington: Indiana University Press
Messaris, Paul (1996) Visual Persuasion: The Role of Images in Advertising, Thousand Oaks, CA: Sage.
Metz, Christian (1985) ‘Photography and Fetish’, October 34, Autumn
Meyer, Moe (ed.) (1994) The Politics and Poetics of Camp, London: Routledge
Miller, Mark (1994) Spectacle: Operation Desert Storm and the Triumph of Illusion, New York: Poseidon Press
Minto, C.S. (1970) Victorian and Edwardian Scotland from Old Photographs, London: Batsford
Mitchell, W.J. (1992) The Reconfigured Eye: Visual Truth in the Post-photographic Era, Cambridge, MA: The MIT Press
Mitchell, W.J.T. (2004) What do Images Want? The Lives and Loves of Images, Chicago: University of Chicago Press
Mitter, Swasti (1986) ‘Flexibility and Control: The Case of Benetton’ in Common Fate Common Bond; Women in the Global Economy, London: Pluto
Moholy-Nagy, László (1967) Painting, Photography, Film, London: Lund Humphries
Montoussamy-Ashe, Jeanne (1985) Viewfinders: Black Women Photographers, New York: Dodd, Mead
Morris, Roderick C. (1992) ‘The Best Possible Taste’, Spectator, 15 February
Morrish, John (2001) ‘Getty’s New Digital Empire’, Business 2.0, April edition, Bizjournals, Seattle
Morton, Tom (2004) ‘Helen Chadwick’ (review), Frieze 86, October
Mulvey, Laura (1975) ‘Visual Pleasure and Narrative Cinema’, Screen 16(3): 6–18
Mulvey, Laura (1981) ‘Visual Pleasure and Narrative Cinema’ in T. Bennett, S. Boyd-Bowman, C. Mercer and J. Woollacott (eds) Popular Television and Film, London: BFI and the Open University. Also in Mulvey, L. (1989) Visual and Other Pleasures, London: Macmillan
Murray, Heather (2007) ‘Monstrous Play in Negative Spaces: Illegible Bodies and the Cultural Construction of Biometric Technology’, The Communication Review 10: 347–465
Musello, C. (1979) ‘Family Photography’ in J. Wagner, (ed.) Images of Information, London: Sage
Myers, Kathy (1986) Understains: Sense and Seduction in Advertising, London: Comedia
Myers, Kathy (1990) ‘Selling Green’ in Carol Squiers, (ed.) The Critical Image: Essays on Contemporary Photography, Seattle: Bay Press
Nead, L. (1992) The Female Nude: Art, Obscenity and Sexuality, London and New York: Routledge
Neale, S. (1985) Cinema and Technology: Images, Sound, Colour, London: Macmillan
Neumaier, Diane (ed.) (1996) Reframings, New American Feminist Photographics, Philadelphia, PA: Temple University Press
Newhall, Beaumont (1982 [1937]) The History of Photography, New York: MOMA, fifth edition, revised and enlarged
Nichols, Bill (1981) Image and Ideology, Bloomington: University of Indiana Press
Nichols, Bill (1988) ‘The Work of Culture in the Age of Cybernetic Systems’, Screen 29(1), Winter
Nochlin, Linda (1978) Realism, Harmondsworth: Penguin
Nunberg, G. (1996) ‘Farewell to the Information Age’, in G. Nunberg (ed.) The Future of the Book, Berkeley: University of California Press
Nye, David (1985) Image Worlds: Corporate Identities at General Electric 1890–1930, Cambridge, MA: The MIT Press
Nye, David E., and Gidley, Mick (eds) (1994) American Photographs in Europe, Amsterdam: VU University Press
O’Brien, Michael and Waits, Tom (2011) Hard Ground, Austin: University of Texas Press
Ofcom (2013) Children and Parents: Media Use and Attitudes Report London: Office of Communication Research Report
Official Transcripts (2013) Morel vs. AFP and Getty, November, http://photomorel.com/?page_id=2049
Ohrn, Karen Becker (1980) Dorothea Lange and the Documentary Tradition, Baton Rouge: Louisiana State University Press
Okabe, Daisuke (2004) ‘Emergent Social Practices, Situations and Relations through Everyday Camera Phone Use’, Keio University, www.itofisher.com/mito/archives/okabe_seoul.pdf
Olalquiaga, Celeste (1992) Megalopolis: Contemporary Cultural Sensibilities, Minneapolis: University of Minnesota Press
Olin, Margaret (2009) ‘Touching Photographs: Roland Barthes’s “Mistaken” Identification’ in Geoffrey Batchen (ed.) Photography Degree Zero: Reflections on Roland Barthes’s Camera Lucida, Cambridge, MA: The MIT Press
O’Reilly, John (1998) ‘Death is Probably the Last Pornographic Issue Left’, Guardian, 2 February
Orvell, Miles (2003) American Photography, Oxford: Oxford University Press
Osborne, Brian S. (2003) ‘Constructing the State, Managing the Corporation, Transforming the Individual: Photography, Immigration and the Canadian National Railways, 1925–30’ in J. Schwartz, and J. Ryan (eds) Picturing Place: Photography and the Geographical Imagination, London: I.B. Tauris
Paasonen, Susanna, Nikunen, Kaarina and Saarenmaa, Laura (2007) Pornification: Sex and Sexuality in Media Culture, Oxford: Berg
Parr, M. (1986) The Last Resort: Photographs of New Brighton, Stockport: Dewi Lewis Publishing
Parr, M. (1995) Small World: A Global Photographic Project, 1987–1994, Stockport: Dewi Lewis Publishing
Parr, Martin and Badger, Gerry (2004) The Photobook: A History, Vol. 1, London: Phaidon Press
Parr, Martin and Badger, Gerry (2006) The Photobook: A History, Vol. 2, London: Phaidon Press
Parr, Martin and Badger, Gerry (2014) The Photobook: A History, Vol. 3, London: Phaidon Press
Parr, M. and Stasiak, J. (1986) ‘The Actual Boot’: The Photographic Post-card Boom 1900–1920, Bradford: A.H. Jolly (Editorial) Ltd/National Museum of Photography, Film and Television. Exhibition catalogue
Parsons, Sarah (2008) ‘Public/Private Tensions in the Photography of Sally Mann’, History of Photography 32(2)
Penlake, R. (1899) Home Portraits for Amateur Photographers, London: Upcott Gill
Penn, Irving (1974) Worlds in a Small Room, London: Studio Vista
Petro, Patrice (ed.) (1995) Fugitive Images, Bloomington: Indiana University Press
Pfrunder, P. (2011) Swiss Photobooks from 1927 to the Present: A Different History of Photography. Zurich: Lars Muller Publishers
Phaidon (1997) The Photography Book, London: Phaidon
Phillips, Christopher (ed.) (1989) Photography in the Modern Era: European Documents and Critical Writings 1913–1940, New York: MOMA
Phizacklea, Annie (1990) ‘The Benetton Model’ in Unpackaging the Fashion Industry: Gender, Racism and Class in Production, London: Routledge
Pickerell, Jim (2012) ‘Stock Photo Market Statistics’, Selling Stock: Inside the Stock Image Industry, 29 March, www.selling-stock.com/Article/stock-photo-market-statistics
Pickerell, Jim (2013a) ‘Can Getty Take Market Share From Shutterstock?’, Selling Stock: Inside the Stock Image Industry, 4 September, www.selling-stock.com/Article/can-getty-take-market-share-from-shutterstock
Pickerell, Jim (2013b) ‘A Litany of Woes for Career Photographers’, Black Star Rising, 15 April, http://rising.blackstar.com/a-litany-of-woes-for-career-photographers.html
Pickerell, Jim (2013c) ‘Decline in Return-per-image’, Selling Stock: Inside the Stock Image Industry, 16 September, www.selling-stock.com/article/decline-in-return-per-image
Pinney, C. (1997) Camera Indica: The Social Life of Indian Photographs, London: Reaktion Books
Piper, K. (1991) ‘Fortress Europe: Tagging the Other’ in P. Wombell, (ed.) PhotoVideo: Photography in the Age of the Computer, London: Rivers Oram Press
Pollock, Griselda (1977) ‘What’s Wrong with “Images of Women”?’. Reprinted in R. Parker and G. Pollock (eds) (1987) Framing Feminism, London: Pandora Press
Pollock, Griselda (1990) ‘Missing Women—Re-thinking Early Thoughts on Images of Women’ in Carol Squiers, (ed.) The Critical Image: Essays on Contemporary Photography, Seattle: Bay Press
Posner, Jill (1982) Spray it Loud, London: Routledge
Pozner, Jennifer L. (2007) ‘Top Model’s Beautiful Corpses: The Nexus of Reality TV’s Misogyny and Ad Industry Ideology’, www.wimnonline.org/WIMNsVoicesBlog, accessed 1 July 2008
Price, D. (1983) ‘Photographing the Poor and the Working Class’, Framework 22(22), Autumn
Price, Mary (1994) The Photograph: A Strange, Confined Space, Stanford, CA: Stanford University Press
Prochaska, David (1991) ‘Fantasia of the Phototheque: French Postcard Views of Senegal’, African Arts, October
Pryce, W.T.R. (1994) ‘Photographs and Picture Postcards’ in M. Drake, and R. Finnegan (eds) Studying Family and Community History: 19th and 20th Centuries, Cambridge: Cambridge University Press and the Open University Press
Puglia, Stephen (2003) ‘Preservation Reformatting: Digital Technology vs. Analog Technology’, 18th Annual Preservation Conference, US National Archives and Records Administration, www.archives.gov/preservation/conferences/papers-2003/puglia.html
Pultz, John (1995a) The Body and the Lens: Photography 1839 to the Present, New York: Harry N. Abrams, Inc
Pultz, John (1995b) Photography and the Body, London: Weidenfeld & Nicolson
Punt, Michael (1995) ‘The Elephant, the Spaceship and the White Cockatoo: An Archaeology of Digital Photography’ in M. Lister, (ed.) The Photographic Image in Digital Culture, London and New York: Routledge
Quartermaine, P. (1992) ‘Johannes Lindt: Photographer of Australia and New Guinea’ in M. Gidley, (ed.) Representing Others: White Views of Indigenous Peoples, Exeter: University of Exeter Press
Rabinowitz, Paula (1994) They Must be Represented: The Politics of Documentary, London: Verso
Rahir, Patrick (2003) ‘Pan-European security body slams TV for turning war into entertainment’, Agence France Presse, 1 April
Ramamurthy, A. (2003) Imperial Persuaders: Images of Africa and Asia in British Advertising, Manchester: Manchester University Press
Ramamurthy, A. (2012) ‘Absences and Silences: The Representation of the Tea Picker in Colonial and Fair Trade Advertising’, Visual Culture in Britain 13(3): 367–481
Ramamurthy, A. and Wilson, K. (2013) ‘“Come and Join the Freedom Lovers!”: Racism, Appropriation and Resistance in Advertising’ in Colonial Advertising and Commodity Racism, Münster: Lit Verlag
Ray-Jones, T. (1974) A Day Off: An English Journal, London: Thames and Hudson
Rexer, Lyle (2002) Photography’s Antiquarian Avant-Garde: The New Wave in Old Processes, New York: Harry N. Abrams
Richards, Thomas (1990) Commodity Culture in Victorian Britain, London: Verso
Richards, Thomas (1993) The Imperial Archive: Knowledge and the Fantasy of Empire, London: Verso
Ride, P. (1997) ‘Photography and Digital Art’, Creative Camera, April/May
Riis, J.A. (1918) The Making of an American, New York: Macmillan
Ritchin, F. (1990a) In Our Own Image: The Coming Revolution in Photography, New York: Aperture
Ritchin, F. (1990b) ‘Photojournalism in the Age of Computers’ in Carol Squiers, (ed.) The Critical Image, Seattle: Bay Press
Ritchin, F. (2013) Bending the Frame: Photojournalism, Documentary and the Citizen, New York: Aperture
Roberts, John (1993) Renegotiations: Class, Modernity and Photography, Norwich: Norwich Gallery, Norfolk Institute of Art and Design
Roberts, John (ed.) (1997) The Impossible Document: Photography and Conceptual Art in Britain 1966–1976, London: Camerawords
Roberts, John (1998) The Art of Interruption: Realism, Photography and the Everyday, Manchester: Manchester University Press
Robertson, G., Mash, M., Tickner, L., Bird, J., Curtis, B. and Putnam, T. (eds) (1994) Travellers’ Tales: Narratives of Home and Displacement, London: Routledge
Robins, Corinne (1984) The Pluralist Era: American Art 1968–1981, New York: Harper & Row
Robins, K. (1991) ‘Into the Image: Visual Technologies and Vision Cultures’ in P. Wombell, (ed.) PhotoVideo: Photography in the Age of the Computer, London: Rivers Oram Press
Robins, K. (1995) ‘Will Images Move Us Still?’ in M. Lister, (ed.) The Photographic Image in Digital Culture, London and New York: Routledge
Rodchenko, Alexander (1928) ‘Against the Synthetic Portrait, for the Snapshot’, Novy LEF: New Left Front of the Arts. Reprinted in C. Phillips (ed.) (1989) Photography in the Modern Era: European Documents and Critical Writings 1913–1940, New York: MOMA
Rodgerson, Gillian and Wilson, Elizabeth (eds) (1991) Pornography and Feminism: The Case Against Censorship, London: Lawrence and Wishart
Rogers, Brett (ed.) (1994) Documentary Dilemmas: Aspects of British Documentary Photography 1983–1993, London: British Council
Rose, Gillian (2010) Doing Family Photography: The Domestic, the Public and the Politics of Sentiment, Farnham: Ashgate
Rose, Gillian (2013) ‘How Digital Technologies do Family Snaps, Only Better’ in Digital Snaps: The New Face of Photography, London: I.B.Tauris
Rosenblum, Naomi (2010 [1994]) A History of Women Photographers, New York, London and Paris: Abbeville Press
Rosenblum, Naomi (2007) A World History of Photography, New York, London and Paris: Abbeville Press (previous editions 1984, 1989, 1997)
Rosler, Martha (1989) ‘In, Around and Afterthoughts (on Documentary Photography)’ in Richard Bolton, (ed.) The Contest of Meaning: Critical Histories of Photography, Cambridge, MA: The MIT Press
Rosler, Martha (1991) ‘Image Simulations, Computer Manipulations, Some Considerations’, Ten-8 2(2), Digital Dialogues
Roth, Andrew (ed.) (2004) The Open Book, Gothenburg: The Hasselblad Center
Rowland, Anna (1990) The Bauhaus Source Book, ch. 6, ‘Graphics’, Oxford: Phaidon
Royal Photographic Society (1977) Directory of British Photographic Collections, London: Heinemann
Rubinstein, Daniel and Sluis, Katrina (2008) ‘A Life More Photographic’, photographies 1(1), Spring: 9–28
Ruby, Jay (1995) Secure the Shadow: Photography and Death in America, Cambridge, MA, and London: The MIT Press
Ryan, James R. (1997) Picturing Empire: Photography and the Visualisation of the British Empire, London: Reaktion Books
Said, Edward (1985 [1978]) Orientalism, London: Penguin
Salvemini, Lorella Pagnucco (2002) United Colours: The Benetton Campaigns, London: Scriptum Editions
Sampson, A. (1983) Drum: An African Adventure and Afterwards, London: Hodder and Stoughton
Sandbye, M. (2013) ‘The Family Photo Album as Transformed Social Space in the Age of Web 2.0’ in Ulrick Ekman, (ed) Throughout: Art and Culture Engaging with Ubiquitous Computing, Boston: MIT
Sarvas, Risto and Frohlich, David (2011) From Snapshots to Social Media: The Changing Picture of Domestic Photography, London: Springer
Sassoon, Joanne (2004) ‘Photographic Materiality in the Age of Digital Reproduction’ in Elizabeth Edwards, and Janice Hart (eds) Photographs Objects Histories, London and New York: Routledge.
Savan, Leslie (1990) ‘Logo-rrhea’, Voice, 24 November, New York
Scharf, Aaron (1974) Art and Photography, Harmondsworth: Pelican, revised edition
Schildkrout, Enid (1991) ‘The Spectacle of Africa Through the Lens of Herbert Lang’, African Arts, October
Schwarz, Ori (2010) ‘On Friendship, Boobs and the Logic of the Catalogue: Online Self-Portraits as a Means for the Exchange of Capital’, Convergence 16(2): 163–283
Scott, Clive (2007) Street Photography from Atget to Cartier-Bresson, London: I.B. Tauris
Segal, Lynne and Macintosh, Mary (eds) (1992) Sex Exposed: Sexuality and the Pornography Debate, London: Virago
Sekula, Allan (1978) ‘Dismantling Modernism, Reinventing Documentary (Notes on the Politics of Representation)’ in J. Liebling, (ed.) Photography: Current Perspectives, Rochester, NY: Light Impressions Co.
Sekula, Allan (1986) ‘The Body and the Archive’, October 39 (16). Reprinted in Richard Bolton (ed.) (1989) The Contest of Meaning: Critical Histories of Photography, Cambridge, MA: The MIT Press
Sekula, Allan (2003) ‘Reading an Archive: Photography Between Labour and Capital’ in Patricia Holland, Jo Spence and Simon Watney (eds) Photography/Politics Two, London: Comedia, 1986. Reprinted in Liz Wells (ed.) (2003) The Photography Reader, London: Routledge
Sharma, Sanjay and Sharma, Ashwani (2003) ‘White Paranoia: Orientalism in the Age of Empire’, Fashion Theory: The Journal of Dress, Body and Culture 7(3/4): 1–18
Shayon, Sheila (2012) ‘Coca-Cola Continues to Open Happiness, From Coke Machine to Truck to Table’, Brandchannel, 19 September, www.brandchannel.com/home/post/Coca-Cola-Open-Happiness-091912.aspx
Sherman, Cindy (1991) ‘Reading an Archive’ in Brian Wallis, and Marcia Tucker (eds) Blasted Allegories, Cambridge, MA: The MIT Press
Sherman, Cindy (1997) Retrospective, London: Thames and Hudson
Shields, Rob (2003) The Virtual, London and New York: Routledge
Shinkle, Eugenie (ed.) (2008) Fashion as Photograph: Viewing and Reviewing Images of Fashion, London: I.B. Tauris
Slater, D.R. (1983) ‘Marketing Mass Photography’ in H. Davis, and P. Walton (eds) Language, Image, Media, Oxford: Blackwell
Slater, D.R. (1991) ‘Consuming Kodak’ in J. Spence, and P. Holland (eds) Family Snaps: The Meanings of Domestic Photography, London: Virago
Slater, D.R. (1995a) ‘Photography and Modern Vision: The Spectacle of “Natural Magic”’ in C. Jenks (ed.) Visual Culture, London: Routledge
Slater, D.R. (1995b) ‘Domestic Photography and Digital Culture’ in M. Lister, (ed.) The Photographic Image in Digital Culture, London and New York: Routledge
Slater, D.R. (1997) Consumer Culture and Modernity, Cambridge, MA: Blackwell
Sluis, K. (2011) Talk at Roehampton University
Smith, Clarissa (2007) One for the Girls: The Pleasures and Practices of Reading Women’s Porn, Bristol: Intellect Press
Smith, L. (1998) The Politics of Focus: Women, Children and Nineteenth Century Photography, Manchester: Manchester University Press
Snyder, Joel (1980) ‘Picturing Vision’, Critical Enquiry 6, Spring: 499–526
Snyder, Joel (1994) ‘Territorial Photography’ in W.J.T. Mitchell, (ed.) Landscape and Power, London: University of Chicago Press
Snyder, J. and Allen, N.W. (1975) ‘Photography, Vision, and Representation’, Critical Enquiry 2, Autumn: 143–69
Solanke, A. (1991) ‘Complex Not Confused’ in J. Spence, and P. Holland (eds) Family Snaps: The Meanings of Domestic Photography, London: Virago
Soloman, J. (1995) ‘Interrogating the Holiday Snap’ in J. Spence and J. Soloman What Can a Woman do with a Camera?, London: Scarlet Press
Solomon-Godeau, Abigail (1991a) Photography at the Dock: Essays on Photographic History, Institutions and Practices, Minneapolis: University of Minnesota Press
Solomon-Godeau, Abigail (1991b) ‘Who is Speaking Thus?’ in A. Solomon-Godeau op. cit.
Solomon-Godeau, Abigail (1991c) ‘Reconsidering Erotic Photography: Notes for a Project of Historical Salvage’ in A. Solomon-Godeau op. cit.
Solomon-Godeau, Abigail (2004) ‘Modern Style: Dressing Down’, ArtForum International 42(9): 192(5)
Sontag, Susan (1979) On Photography, Harmondsworth: Penguin
Sontag, Susan (2002) On Photography, Harmondsworth: Penguin. A new edition with an introduction by John Berger.
Sontag, Susan (2003) Regarding the Pain of Others, London: Hamish Hamilton
Sontag, Susan (2004) ‘Regarding the Torture of Others’, New York Times Magazine
Soutter, Lucy (2013) Why Art Photography? London and New York: Routledge
Spence, J. (1987) Putting Myself in the Picture, London: Camden Press
Spence, J. (1991) ‘Soap, Family Album Work… and Hope’ in J. Spence, and P. Holland (eds) Family Snaps: The Meanings of Domestic Photography, London: Virago
Spence, J. (1995) Cultural Sniping, London: Routledge
Spence, J. and Holland, P. (eds) (1991) Family Snaps: The Meanings of Domestic Photography, London: Virago
Spence, J. and Soloman, J. (eds) (1995) What Can a Woman do with a Camera?, London: Scarlet Press
Spender, H. (1978) ‘Humphrey Spender: M.O. Photographer’, Camerawork 11
Spiegel, Lynn (1992) Make Room for TV: Television and the Family Ideal in Postwar America, Chicago, IL: University of Chicago Press
Squiers, Carol (ed.) (1990) The Critical Image, London: Lawrence and Wishart
Squiers, Carol (ed.) (1992) ‘The Corporate Year in Pictures’ in R. Bolton, (ed.) The Contest of Meaning: Critical Histories of Photography, Cambridge, MA: The MIT Press
Squiers, Carol (ed.) (2003) ‘Class Struggle: The Invention of Paparazzi Photography and the Death of Diana, Princess of Wales’ in Carol Squiers, (ed.) Over Exposed: Essays on Contemporary Photography, New York: The New Press
Squiers, Carol (ed.) (2005) The Body at Risk: Photography of Disorder, Illness and Healing, Berkeley: University of California Press
Squiers, Carol (ed.) (2013) What is A Photograph? New York: International Center of Photography and DelMonico Books
Stafford, B.M. (1991) Body Criticism, Imaging the Unseen in Enlightenment, Art and Medicine, Cambridge, MA: The MIT Press
Stallabrass, J. (1997) ‘Sebastiao Salgado and Fine Art Photojournalism’, New Left Review 223
Stallabrass, J. (ed) (2013) Memory of Fire: Images of War and the War of Images, Brighton: Photoworks
Stallybrass, Peter and White, Allon (1986) The Politics and Poetics of Transgression, Ithaca, NY: Cornell University Press
Stanley, J. (1991) ‘Well, Who’d Want an Old Picture of me at Work?’ in J. Spence, and P. Holland (eds) Family Snaps: The Meanings of Domestic Photography, London: Virago
Stapely, G. and Sharpe, L. (1937) Photography in the Modern Advertisement, London: Chapman and Hall
Steele-Perkins, Chris (ed.) (1980) About 70 Photographs, London: Arts Council of Great Britain
Stein, S. (1981) ‘The Composite Photographic Image and the Composition of Consumer Ideology’, Art Journal, Spring
Stein, S. (1983) ‘Making Connections with the Camera: Photography and Social Mobility in the Career of Jacob Riis’, Afterimage 10(10)
Stein, S. (1992) ‘The Graphic Ordering of Desire: Modernisation of a Middle-class Women’s Magazine 1919–1939’ in R. Bolton, (ed.) The Contest of Meaning: Critical Histories of Photography, Cambridge, MA: The MIT Press
Stokes, Philip (1992) ‘The Family Photograph Album: So Great a Cloud of Witnesses’ in Graham Clarke, (ed.) The Portrait in Photography, London: Reaktion Books
Stott, W. (1973) Documentary Expression and Thirties America, London: Oxford University Press
Strand, Paul (1917) ‘Photography’, Camera Work 49/50, reprinted in B. Newhall (1982) The History of Photography, New York: MOMA
Strand, Paul (1980) Photography: Essays and Images, London: Secker and Warburg
Strauss, D.L. (2003) Between the Eyes: Essays on Photography and Politics, New York: Aperture Books
Struck, J. (2011) Private Pictures: Soldiers’ Inside View of War, London: I.B.Tauris
Struk, Janina (2003) Photographing the Holocaust: Interpretations of the Evidence, London: I.B.Tauris
Sullivan, Constance (ed.) (1990) Women Photographers, London: Virago
Swingler, S. (2000) ‘Victorian/Edwardian Women as Photographers and Keepers of the Family Album’ in Liz Wells, Kate Newton and Catherine Fehily (eds) Shifting Horizons, London: I.B. Tauris
Szarkowski, John (1966) ‘Introduction’ in The Photographer’s Eye, New York: MOMA
Szarkowski, John (1989) Photography Until Now, New York: MOMA
Tabloid Tales (2003) Anthea Turner BBC1, 3 June
Tagg, John (1988) The Burden of Representation: Essays on Photographies and Histories, London: Macmillan
Taylor, Janelle S. (2000) ‘Of Sonograms And Baby Prams: Prenatal Diagnosis, Pregnancy, and Consumption’, Feminist Studies, Summer
Taylor, John (1994) A Dream of England: Landscape, Photography and the Tourist’s Imagination, Manchester: Manchester University Press
Taylor, Mark C. (1997) Hiding, Chicago, IL, and London: University of Chicago Press
Taylor, Roger (2001) ‘Topographer with Attitude’ in Fay Godwin Landmarks, Stockport: Dewi Lewis Publishing
Tenno, Helge (2009) ‘A Bigger Idea—Branded Context and Brand Situations’, Slideshare, 31 January, www.slideshare.net/helgetenno/a-bigger-idea-branded-context-and-brand-situations
Thomas, Alan (1978) The Expanding Eye: Photography and the Nineteenth Century Mind, London: Croom Helm
Thomas, Deborah Willis (1985) Black Photographers 1840–1940: An Illustrated Bio-bibliography, New York: Garland
Thompson, F.M.L. (ed.) (1990) The Cambridge Social History of Britain 1750–1850, Vol. 2, People and Their Environment, Cambridge: Cambridge University Press
Thomson, J. (1877) Street Life in London, n.p.n.
Tietjen, Friedrich (2003) ‘Experience to See—Jeff Wall’s Photo Works: Modes of Production and Reception’ in Jeff Wall. Photographs, Vienna: Museum Moderner Kunst Stiftung Ludwig
Townsend, Chris (1998) Vile Bodies: Photography and the Crisis of Looking, Munich and New York: Prestel-Verlag and Channel Four Television Corporation
Trachtenberg, A. (1982) The Incorporation of America, New York: Hill and Wang
Trachtenberg, A. (1989) Reading American Photographs, New York: Hill and Wang
Tucker, Anne (1973) The Woman’s Eye, New York: Knopf
Tucker, Anne (1984) ‘Photographic Facts and Thirties America’ in David Featherstone, (ed.) Observations: Essays on Documentary Photography, Carmel, CA: Friends of Photography
Tucker, Jennifer (2013) ‘Eye on the Street: Photography in Urban Public Spaces’, Radical History Review 114, Fall: 7–18
Turner, Peter (1987) History of Photography, London: Hamlyn
Ugrina, Luciana (2014) ‘Celebrity Biometrics: Norms, New Materialism and the Agentic Body in Cosmetic Surgery Photography’, Fashion Theory 18(1): 27–44
Urry, J. (1990) The Tourist Gaze: Leisure and Travel in Contemporary Societies, London: Sage
Urry, J. and Larsen, J. (2011) The Tourists’ Gaze 3.0, London: Sage
van Alphen, E. (1999) ‘Nazism in the Family Album: Christian Boltanski’s Sans Souci’ in Marianne Hirsch (ed.) The Familial Gaze, Hanover, NH: Dartmouth College
Van-Gelder, Hilde and Westgeest, Helen (2011) Photography Theory in Historical Perspective, Oxford: Wiley-Blackwell
Van House, Nancy A. ‘Personal Photography, Digital Technologies and the Uses of the Visual’, Visual Studies (Special Issue: ‘New Visual Technologies: Shifting Boundaries, Shared Moments’), Volume 26, Issue 2, 2011, pp.125–34
Van-Schendel, W. (2002) ‘A Politics of Nudity: Photographs of the “Naked Mru” of Bangladesh’, Modern Asian Studies 36(2)
Vance, Carole S. (1990) ‘The Pleasures of Looking: The Attorney General’s Commission on Pornography versus Visual Images’ in Carol Squiers, (ed.) The Critical Image: Essays on Contemporary Photography, Seattle: Bay Press
van der Ploeg, Irma (2003) ‘Biometrics and the Body as Information: Normative Issues of the Socio-Technical Coding of the Body’ in David Lyon, (ed.) Surveillance as Social Sorting: Privacy, Risk, and Digital Discrimination, New York: Routledge
Van de Ven, Ariadne (2011) ‘The Eyes of the Street Look Back: In Kolkata with a Camera around my Neck’, Photographies 4(2): 139–255
Vanhaelen, A. (2002) ‘Street Life in London and the Organization of Labour’, History of Photography, Autumn.
Veltman, K.H. (1996) ‘Electronic Media: The Rebirth of Perspective and the Fragmentation of Illusion’ in T. Druckery, (ed.) Electronic Culture: Technology and Visual Representation, New York: Aperture
Virilio, P. (1989) War and Cinema, London: Verso
Virilio, P., Baudrillard, J. and Hall, S. (1988) ‘The Work of Art in the Electronic Age’, Block 14
Waldby, Catherine (2000) The Visible Human Project; Informatic Bodies and Posthuman Medicine, London and New York: Routledge
Walker, Ian (1995) ‘Desert Stones or Faith in Facts’ in M. Lister, (ed.) The Photographic Image in Digital Culture, London and New York: Routledge
Walker, Ian (2002) City Gorged with Dreams, Manchester: Manchester University Press
Walker, Ian (2007) So Exotic, So Homemade: Surrealism, Englishness and Documentary Photography, Manchester: Manchester University Press
Walkerdine, V. (1991) ‘Behind the Painted Smile’ in J. Spence, and P. Holland (eds) Family Snaps: The Meanings of Domestic Photography, London: Virago
Wall, Jeff (1995) ‘About Making Landscapes’ in Lynda Morris (ed.) (2002) Jeff Wall, Norwich: Norwich Gallery and Birmingham: Article Press
Ward, Dick (1990) Photography for Advertising, London: Macdonald Illustrated
Warner, Marina (1990) ‘Parlour Made’ in David Brittain, (ed.) Creative Camera: 30 Years of Writing, Manchester: Manchester University Press
Warner Marien, Mary (1988) ‘Another History of Photography’, Afterimage, October: 4–5
Warner Marien, Mary (1991) ‘Toward a New Prehistory of Photography’ in Daniel P. Younger, (ed.) Multiple Views, Albuquerque: University of New Mexico Press
Warner Marien, Mary (1997) Photography and its Critics, a Cultural History, 1839–1900, Cambridge and New York: Cambridge University Press
Warner Marien, Mary (2014 [2002]) Photography, a Cultural History, London: Laurence King Publishing Ltd. Fourth edition
Watney, S. (1991) ‘Ordinary Boys’ in J. Spence, and P. Holland (eds) Family Snaps: The Meanings of Domestic Photography, London: Virago
Watriss, Wendy and Zamora, Lois (eds) (1998) Image and Memory: Photographs from Latin America 1866–1994, Austin: University of Texas Press
Weaver, Mike (1982) Photography as Fine Art, London: Thames and Hudson
Weaver, Mike (1986) The Photographic Art, London: Herbert
Weaver, Mike (1989a) The Art of Photography, London: Royal Academy of Arts/New Haven, CT: Yale University Press
Weaver, Mike (1989b) British Photography in the Nineteenth Century: The Fine Art Tradition, Cambridge: Cambridge University Press
Weernink, Wim (1979) La Lancia: 70 Years of Excellence, London: Motor Racing Publications
Weibel, Peter (1996) ‘The World as Interface’ in Timothy Druckery, (ed.) Electronic Culture, New York: Aperture
Wells, Liz (1992) ‘Judith Williamson, Decoding Advertisements’ in M. Barker, and A. Beezer (eds) Reading into Cultural Studies, London: Routledge
Wells, Liz (ed.) (1994) Viewfindings, Women Photographers: ‘Landscape’ and Environment, Tiverton, Devon: Available Light
Wells, Liz (ed.) (2009) Photography: A Critical Introduction. Fourth edition. London and New York: Routledge
Wells, Liz (2011) Land Matters: Landscape Photography, Culture and Identity, London: I.B. Tauris
Werge, J. (1890) The Evolution of Photography, London
Weski, T. (2003) ‘Cruel and Tender’ in E. Dexter, and T. Weski (eds) Cruel and Tender, London: Tate Publishing
West, Nancy Martha (2000) Kodak and the Lens of Nostalgia, Virginia: University of Virginia Press
Westerbeck, Colin and Meyerowitz, Joel (1994) Bystander: A History of Street Photography, London: Thames and Hudson
Wilkinson, Helen (1997) ‘“The New Heraldry”: Stock Photography, Visual Literacy and Advertising in 1930s Britain’, Journal of Design History 10(1)
Willett, John (1978) The New Sobriety, Art and Politics in the Weimar Period, London: Thames and Hudson
Williams, Linda (1995) ‘Corporealized Observers: Visual Pornographies and the Carnal Density of Vision’ in Patrice Petro Fugitive Images, Bloomington: Indiana University Press
Williams, Raymond (1974) Television, Technology and Cultural Form, London: Fontana
Williams, Raymond (1976) Keywords, London: Fontana
Williams, Raymond (1979) ‘The Arts Council’, Political Quarterly, Spring
Williams, Raymond (1980) ‘Advertising the Magic System’ in Problems in Materialism and Culture, London: Verso
Williams, Raymond (1989) ‘When Was Modernism’ in The Politics of Modernism, London: Verso
Williams, Val (1986) Women Photographers. The Other Observers, 1900 to the Present, London: Virago. Revised edition 1991, The Other Observers. Women Photographers from 1900 to the Present
Williams, Val (1994) Who’s Looking at the Family?, London: Barbican Art Gallery. Exhibition catalogue and introduction
Williams, Val (1998) Look at Me: Fashion and Photography in Britain, 1960 to the Present, London: British Council
Williamson, Judith (1978) Decoding Advertisements: Ideology and Meaning in Advertising, London: Marion Boyars
Williamson, Judith (1979) ‘Great History that Photographs Mislaid’ in P. Holland, J. Spence, and S. Watney (eds) Photography/Politics: One, London: Comedia
Willis, A-M. (1990) ‘Digitisation and the Living Death of Photography’ in P. Hayward, (ed.) Culture, Technology, and Creativity in the Late Twentieth Century, London: John Libbey and Co. Ltd
Winship, Janice (1987a) ‘Handling Sex’ in R. Betterton, (ed.) Looking On: Images of Femininity in the Visual Arts and Media, London: Pandora
Winship, Janice (1987b) Inside Women’s Magazines, London: Pandora
Wollen, Peter (1982 [1978]) ‘Photography and Aesthetics’, Screen 19(4) Winter. Reprinted in Readings and Writings, London: Verso and New Left Books
Wombell, P. (1991) PhotoVideo: Photography in the Age of the Computer, London: Rivers Oram Press
Ziff, T. (1991) ‘Taking New Ideas Back to the Old World’ in P. Wombell, (ed.) PhotoVideo: Photography in the Age of the Computer, London: Rivers Oram Press
Žižek, Slavoj (1997) ‘Multiculturalism, or the Cultural Logic of Multinational Capitalism’, New Left Review I/225, September–October