Photography · A Critical Introduction by Barnbaum, Bruce -- Read -- Imperial Library of Trantor

Index

Cover Title Copyright Contents Notes on contributors Editor’s preface Acknowledgements Illustration acknowledgements Introduction 1 Thinking about photography: debates, historically and now

Introduction Aesthetics and technologies

The impact of new technologies Art and technology The photograph as document Photography and the modern The postmodern Aesthetics in an era of digital imaging

Contemporary debates

What is theory? Photography theory Critical reflections on realism Reading images Photography reconsidered Theory, criticism, practice Case study: Image analysis: the example of Migrant Mother

Histories of photography

Which founding father? The photograph as image History in focus

Photography and social history

Social history and photography The photograph as testament Categorical photography Institutions and contexts Museums and archives

2 Surveyors and surveyed: photography out and about

Introduction Documentary and photojournalism: issues and definitions

Documentary photography Photojournalism Photography and war Documentary and authenticity Defining the real in the digital age

Surveys and social facts

Victorian surveys and investigations Photographing workers Photography and colonialism

The construction of documentary

Picturing ourselves The Farm Security Administration (FSA) Discussion: Drum

Documentary: new cultures, new spaces

Photography on the streets Theory and the critique of documentary Cultural politics and everyday life The real world in colour Documentary and photojournalism in the global age

3 ‘Sweet it is to scan …’: personal photographs and popular photography

Introduction

Private lives and personal pictures: users and readers

In and beyond the charmed circle of home

The public and the private in personal photography Beyond the domestic Fiction and fantasy Portraits and albums Informality and intimacy The working classes picture themselves Kodak and the mass market: the Kodak path The supersnap in Kodaland

Paths unholy and deeds without a name?

Re-viewing the archive Post-family and post-photography? The digital world and the end of privacy And in the galleries …

4 The subject as object: photography and the human body

Introduction

The photographic body in crisis

Embodying social difference

Photography and identification

Objects of desire and disgust

Objectification, fetishism, voyeurism The celebrity body Pornography and sexual imagery Class and representations of the body

Technological bodies

The camera as mechanical eye Interventions and scientific images The body as machine Digital imaging and the malleable body Case study: Materialism and embodiment

The body in transition

Photography, birth and death

Summary

5 Spectacles and illusions: photography and commodity culture

Introduction: the society of the spectacle

Photographic portraiture and commodity culture Photojournalism, glamour and the paparazzi Stock photography, image banks and corporate media Commodity spectacles in advertising photography

The grammar of the ad

Case study: The commodification of human experience – Coca Cola’s Open Happiness campaign The transfer and contestation of meaning

Hegemony in photographic representation

Photomontage: concealing social relations The fetishisation of labour relations The gaze and gendered representations

Fashion photography

Case study: Tourism, fashion and ‘the Other’

The context of the image

Image worlds Case study: Benetton, Toscani and the limits of advertising

6 On and beyond the white walls: photography as art

Introduction

Photography as art

Early debates and practices

The complex relations between photography and art Realism and systems of representation Photography extending art Photography claiming a place in the gallery

The modern era

Modernism and Modern Art Modern photography Photo-eye: new ways of seeing Case study: Art, design, politics: Soviet Constructivism Emphasis on form American formalism Case study: Art movements and intellectual currencies: Surrealism

Late twentieth-century perspectives

Conceptual art and the photographic Photography and the postmodern Women’s photography Questions of identity Identity and the multi-cultural Case study: Landscape as genre

Photography within the institution

Appraising the contemporary Curators, collectors and festivals The gallery as context Blurring the boundaries

Afterword Glossary From analogue to digital Photography archives Bibliography Index

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