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Thomas Bernhard was not an expert in photography, its history and especially theory. He never dealt with the discursive description of her phenomenon. However, in his last great novel, Extinction (1986), he made several photos a kind of memory trigger and a center for building a story. The article deals with the issue of a special, extremely critical, not to say iconoclastic, assessment of the role of photography as a medium of stupefying people who succumb to its seductive power. The analysis of the fragments of photography appearing in the novel is just a starting point for deeper reflection on the impossibility of erasing photography as a medium of memory, it is a fundamental polemic with the thesis of the novel narrator, which the author identifies with the author himself. Here, Thomas Bernhard’s Extinction is an excuse to reflect on how photography and photographing can be considered a disease of our time, as the Austrian writer anticipated in his novel in the eighties of the last century.
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“Mr. Nes, has explored issues of Israeli identity and masculinity in his photographic work by creating visual tableaux that are often influenced by art history and philosophy. He takes ordinary Israelis, and the occasional actor, and poses them as if he were both cinematographer and screenwriter. [...] He used the Bible as a sort of spinal cord of Israeli society, creating contemporary representations of Abraham and Isaac, Cain and Abel, Ruth and Naomi, and Job. After 20 years of creating these fictional visual narratives, Mr. Nes has come to the conclusion that all the strands of his existence form his art — and all the layers that exist in his art — exist inside of him. After all, he is a Sephardic gay man who grew up in a development town, as well as a photographer and artist. He is an outsider. And an Israeli — which is sometimes difficult for him to define.” James Estrin, “The New York Times”
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The article deals with Tadeusz Rożewicz’s poem jest taki pomnik and puts forward a new interpretation concerning the mechanisms he uses to construct meanings. The author focuses on three issues: (1) the role of photography as an interpreter, (2) intertextual encryption of key contexts for the spiritual idea of the poem, (3) the allopathic function of laughter. She also indicates components of the strategy of undecidability, as a result of which a work containing what might seem an unambiguous ideological statement launches mechanisms guarding against one-way reading.
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The subject of this article is the analysis of copyright regulations regarding photographic works, with a consideration of the historical basis. The first act regulating the legal situation of photography was the Act of 29 March 1926 on Copyright. In the accordance with the provisions of the Act, photographic works could be the subject of copyright law, nevertheless the creation of rights was dependent on the fulfillment of a number of formal conditions, in particular placing copyright notice. The next Act of 10 July 1952 on Copyright did not bring many changes in this respect, still significantly limiting the scope of copyright protection granted to photographic works. On the other hand, currently binding Act of February 4, 1994 on Copyright and Related Rights, abandoned most solutions that limited the scope of copyright protection granted to photographic works. After analyzing the most important regulations within the subsequent copyright laws, the author evaluates the changes that occurred in the copyright regulations regarding photographic works in the 20th century.
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Photo-documentary exhibition “Hungarian traces in Shumen” was opened at the Hungarian Cultural Institute in Sofia. It was produced by the Regional Library “Stilian Chilingirov” – Shumen in partnership with the Hungarian Cultural Institute at the Embassy of Hungary, in which it was exhibited.
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The article is an attempt to outline new methodological perspectives on performance studies which derive from Stephen Greenblatt’s Cultural Mobility Manifesto, published in 2010. It analyses the concept of “contact zones,” introduced for the first time in the humanities by Mary Luise Pratt in 1993, and subsequently developed by Stephen Greenblatt and Donna J. Haraway, demonstrating how it reformulates the present understanding of “performance.” According to the author of the article, the contact zones, intended as a space of encounter of heterogenic subjects, allow scholars to have a closer look at emergent strategies, meanings, and contingencies of the present cultural reality. To explain her argument, the author analyses two study cases: the performance Exhibit B by Brett Bailey from 2013, and an exhibition of photographer Pieter Ugo, Between the Devil and the Deep Blue Sea at Museu Coleção Berardo, Lisbon (05.07.2018–07.10.2018).
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The text discusses a monograph by Piotr Rypson about Mieczysław Berman. When we consider Czerwony monter [The Red Assembler], however, we need to refer to a concept that is closely akin, namely, Andrzej Leder’s take on revolution. What is underscored here is Berman’s composite photographs since, as the author of this discussion believes and expands upon in her text – they depict most accurately the times of the photo designer’s life. He is considered the creator of the communist propaganda’s graphical language. And that is probably why a considerable period has had to elapse before he became again considered “worthy” of the scholarly interest. It seems, in this day and age, important to reconsider the works of this world-renown “assembler” of red propaganda, merely in order to trace the remnants of his style in the graphic-design culture of today.
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Review of: Lamija Neimarlija - Abadžić Hodžić, Aida, 2019. Slike suvremenosti: ogledi o arhitekturi, fotografiji i umjetnosti. Sarajevo: Dobra knjiga.
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The article is an extensive presentation of Szenderowicz's work created using J.S. Lec's aphorisms.
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Actress Mary Pickford is perhaps best remembered for her silent-screen persona “Little Mary.” But there was another important aspect to her Hollywood career that is frequently overlooked today: Pickford’s rise to power and fame corresponded with the era of the “New Woman” in U.S. society. This article explores the mediated construction of new womanhood as communicated through the coverage of Pickford’s career between 1918 and 1921 in the pages of the fan magazine Photoplay. It demonstrates how Photoplay used coverage of Pickford to promote the ideal of new womanhood until 1919, when she became the most powerful woman in American moviemaking by co-founding United Artists with three men. After that, at the start of the Roaring Twenties, the magazine sought to contain new womanhood by presenting Pickford almost exclusively as a child, without continuing to acknowledge her abilities as a savvy movie mogul and grown woman as it had regularly done in the past—until significant changes in her personal life required another noteworthy shift in the magazine’s coverage patterns of this star.
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The photograph was taken by Krisztina Kiss about the performance titled A nép ellensége (An Enemy of the People), presented at the HolnapUtán (The Day after Tomorrow) Festival of the Szigligeti Theatre. Starting from this image, János Henn, who plays one of the leading roles, reflects upon the legitimacy of theatre by way of a reverse train of thought.
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Is it possible to fulfil a (seemingly anachronic) desire for seeking beauty through its “distortion”? Can a wounded body be depicted as victorious? Who is imitated by “a portrait” of a biblical or mythological character? In what way can a subject be reflected in a used, worn-down thing? And, consequently, in what way is a photograph related to a subject and its particular story? Does it conserve it indefinitely or does it give it some extended “life after life”? What is the place of emptiness in a photographic image and what can be retrieved in it? Is it possible to visualize the sacred through the remains of things that a photograph rips from deterioration caused by time? The work of the photographer Ivan Pinkava is full of questions that are simultaneously the beginnings of answers.
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This portfolio presents a selection of artworks by the Slovak photographer, Zuzana Pustaiová. The artist gained wider recognition in 2012 when she won the international competition Frame as an art student. Following her success, she became recognized internationally and her work was included in several art and photography festivals around Europe. She is one of the few artists who follows the strong tradition in imaginative and staged photography, represented by artists such as Jana Hojstričová, Silvia Saparová or Gabriel Kosmály. Pustaiová’s main subject is the family, seen through the network of relationships between its members, and the roles they actively play in the family life. The portfolio is organized chronologically. Starting with two series exploring the lives of the artist’s grandparents (Trivial Stories/Trip to Mountains, Trivial Stories 2/Winter Games). The presentation continues with two series dedicated to Slovak folklore (Each Country – Its Customs and ‘Čiľ-ej’), followed by the works Family Album and Faces of Family dedicated to exploration of Pustaiová’s own family. The former draws material from photo albums, while the latter explores ties between actual living relatives. The portfolio ends with the autobiographical series Interlude dedicated to the artist’s current existential situation. Deeper insight into Pustaiová’s artistic program, ideas and motives is provided by the accompanying interview.
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Fejős Zoltán: Amerikai magyar műtermi fényképészek az 1880-as évektől a második világháborúig. (KépTár 5. sorozat.) Néprajzi Múzeum, Budapest, 2020. 150 oldal.
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This study was inspired by Prof. Wolfgang Ullrich’s book History of Blurriness. It explores some of the reasons why the stylistics purposefully concealing a fraction of reality (the truth) has gradually permeated a conservative genre such as photoreportage. The coming of blurriness in documentary photography is followed through the development of the most famous photographic cooperative, Magnum Photos (founded in 1947) and the work of some of its most prominent members: Robert Capa’s photographs of the American troops landing on D-Day, Omaha beach in Normandy (1944); Paul Fusco’s series of Robert Kennedy’s funeral train (1968); the abstract television reproductions of TV Shots series by Harry Gruyaert (1969–1972), as well as some of Gueorgui Pinkhassov’s series, Antoine d’Agata, Trent Parke, Paolo Pellegrin, etc. The advent of digital technology further stimulated the usage of blurriness in photojournalism. Nowadays, everybody can use their phones to take high-quality images, some professional photographers reoriented towards a vision different from reproduction and close to the “disfigured” look of blurriness. In conclusion, blurriness is no longer a province of the artistic photographic genres alone, but rather it is now part of the means of the documentary photography. That is because blurriness allows intensifying the expressive power of an image without replacing or distorting its informative function and objectivity.
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The article investigates the terms photobook, photographic book and photographically illustrated book and how these terms have been used in different periods; when they have come into being; in which scientific or art researches they occur. The emergence and increased use of the designation „photobook” at the turn of the twenty-first century is considered. The text goes back to the second half of the nineteenth century to delve into the earliest sources in which the use of the term occurs. A graphical analysis by Jose Luis Neves is presented using the Ngram Viewer tool, which outlines the frequency of use of the abovementioned terms, from the mid-1800s to 2019, in digitised English texts in Google Books. The data obtained seem reliable enough to serve as evidence of the predominant use of „photobook” in the last two decades and its scarcity in previous periods. Following the graph, the publications that have contributed to the popularisation of this term are considered. Several iconic ontological studies are presented, which reconsider the history of photography through its role in publications and their contribution to the shaping of the contemporary understanding of „photobook”. The coming of a parallel form of photobook, which replaced the photo album on paper copies and was launched onto the mainstream market, is considered, as well as the reasons for such replacement: the arrival of digital technologies in photography and printing. Recently published books are also described, which guide the more ambitious authors on how to self-publish.
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