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The article examines cinematic violence, and deals with one of the most distinctive examples of metacinema, namely, Blow up by Michelangelo Antonioni. Firstly, Blow up covers not only the the key issues of history of photography but also those of ontology. Therefore, in the article, it is returned not only to one of the pioneers of photography, William H. F. Talbot, but also to key ideas of Plato. Secondly, interpreting the notions of Roland Barthes, philosophical aspects of fashion photography are explored. Thirdly, the controversy of John Berger and Don McCullin over the issue of photography of war or agony is discussed. The article reveals Antonioni’s strategy to capture violence not directly but as a symptom or opportunity to overcome the monotony of everyday life predominant in modern society. It is argued that such access allows Antonioni to avoid the hypostasis of the status of violence, which is typical for various prophetic artistic manifests.
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A male researcher has difficulty doing research on the world seen from young girls’ point of view! This article examines the use of auto-driven photo-elicitation interviews (PEI) while engaging young girls in rural Morocco in a study of children’s role in the household in the midst of tension between tradition and rapid socio-economic changes. In this case, the article describes an example of auto-driven PEI and discusses the feasibility of this qualitative method to establish a good rapport between a group of young girls (approximately age 7 to 12) and a foreign, male researcher (age 58). The point being, the male researcher attempts to achieve insight into the children’s thoughts and views of their present situation and imagined future. The article argues for the feasibility of using auto-driven PEI for this purpose, yet applying it in a sensitive and sensible way. The road to follow is not straight forward and there are dilemmas that have to be faced in each case, for example in this case to weigh local requirements for appropriate behaviour up against a researcher’s wish for information as little as possible tainted by adult relatives or family.
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This paper presents, describes and analyses two photobooks: Palast der Republik and Domesticidades. We claim that, because of their highly iconic features, they can be regarded as epistemic artefacts (models) since they reveal information about their objects, as well as about their own morphological properties. The analysis focuses on (i) the kind of relations the photobooks establish with their respective objects (we claim that it is a mainly-iconic relation) and (ii) on the semiotic couplings that can be found in them – a type of interaction between semiotic resources (such as photographs, maps, written texts, illustrations, among others). We contextualize this analysis in relation to both a semiotic and an intermedial background. Further, we claim that the epistemic role of such artworks is directly related to their material and structural features that constrain the possibilities of manipulation and reasoning upon them. We conclude by presenting some of the information that was revealed by the manipulation of these photobooks, claiming that the semioticartefactual approach to models can be an epistemically interesting conceptual frame to thinking about artistic artefacts.
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Photos can be used as supplements to written fieldnotes and as sources for mediating reflection during fieldwork and analysis. As part of a field diary, photos can support the recall of experiences and a reflective distance to the events. Photography, as visual representation, can also lead to reflection on learning and knowledge production in the process of learning how to conduct fieldwork. Pictures can open the way for abstractions and hidden knowledge, which might otherwise be difficult to formulate in words. However, writing and written field notes cannot be fully replaced by photos and visual images. Techno-anthropology students at Aalborg University, in their course titled “Portfolio in Anthropological Work,” use photography and visual abstractions for different purposes during fieldwork. This article analyzes certain excerpts from students’ portfolio works in order to show the role played by photos in their learning process. For students, photography is an everyday documentation form that can support their memory of field experience and serve as a vehicle for the analysis of data. The article discusses how photos and visual representations support fieldwork learning and analysis based on students’ initiatives and experience in using photos and photographing for a wide aspect of purposes during participant-observation.
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В обширной уже литературе по семиотике кино языку мультипликационных фильмов почти не уделяется внимания. Это отчасти объясняется периферийным положением самого мультипликационного фильма в общей системе киноискусства. Такое положение, конечно, не несет в себе ничего закономерного и обязательного и может легко измениться на другом этапе культуры. Развитие телевидения, повышая значение неполнометражных лент, создает, в частности, технические условия для повышения общественного статуса мультипликационных фильмов.
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Although Heidegger mentioned photography in Kant and the Problem of Metaphysics, his image theory developed in that book has not yet been considered in the light of photography’s intrinsic connection with the photographic act, which I wish to put special emphasis on in this paper. Using Heidegger’s interpretation of Kant, I will first examine photographic seeing from an ontological point of view. Then, mirroring a tension in Heidegger’s early focus between a transcendental approach and the primacy of practice thesis as suggested by William Blattner, and following on from William J. Nieberding’s use of certain passages from Being and Time as applied to photography, I will further investigate the primordial practical context in which photographic vision emerges, which will help consider photographic vision as resulting from a specific shift of attitude. However, as William McNeill explains, Heidegger’s idea of a change-over (Umschlag) in seeing from initial practical sight to that of theory includes an autonomous source of the origination of theoretical vision. Thus, if photographic vision is to be considered genuinely theoretical, this compels us to explore the ‘inner source’ of seeing photographically, which I will argue depends on photographers’ understanding of camera vision.
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War losses in Gothic sculpture in Greater Poland are discussed. Two collections of old photographs the Author gained access to in 2013 are analysed. One of them documents historic sculptures from different regions in Poland, however mainly from the country’s north. The second collection is predominantly a testimony to Gothic sculptures from Greater Poland from before WW II. In both sets 20 presentations of lost or irretrievably damaged, yet previously unknown in their appearance, Gothic sculptures have found and identified. The first collection of photographs was amassed immediately following WW II by Aleksandra Świechowska, while the latter was created by Alfred Brosig (d. 1940) who himself photographed the historic pieces. The controversy over taking photos of historic monuments, which took place in 1936 in the course of the exhibition Greater Poland’s Gothic Fine Arts between its authors: Poznan University students, and Alfred Brosig documenting the historic art pieces brought for the exhibition is discussed. That was the occasion when the most precious segment of Brosig’s collection was created. Both sets of photographs are of high documentary value, and the circumstances of their discovering are described.
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The goal of the paper is to present photographic collection belonging to the Archive of Greater Poland and Masovia Province of the Society of Jesus. In recent years an increased interest in photographs can be observed among both professional historians and history enthusiasts alike. The Archive’s photographs document period from the beginning of 20th century to current day. First and foremost the present people: Jesuits of all levels of the Order’s hierarchy, important historical figures of Poland and the Catholic Church and lay people connected to Jesuits. Second group of photographs is the pictures of buildings belonging to Jesuits and their institutions and works, then documentary photographs of important events in Polish history. The paper concludes with presentation of photographs made by Jesuits-enthusiasts of photography.
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The holdings of the Archives of the Lutsk Diocese, held in the Centre for Church Archives, Libraries and Museums (ABMK Centre), are fragmentary and consist of the documentation produced from the Second World War until the 1960s, i.e. the death of the Ordinary Bishop A. Szelążek in Zamek Bierzgłowski in 1950 and the subsequent activities of the Lutsk priests. The archival holdings were arranged after their transfer to the ABMK Centre. As they were in total disarray, the inventory work was tedious and lengthy. The arrangement and description of the photographic documentation in accordance with archival methodology required, among other things, the identifi cation of people, places and determining the dates of taking photographs. Currently, the collection of the Archives of the Lutsk Diocese contains 434 photographs in four record groups. The record groups of legacies and iconographic collections hold the largest number of photographs. In the other two record groups, namely the Lutsk Theological Seminary and the Lutsk Cathedral Parish, photographs constitute a marginal number of non-textual material. The photographs immortalize the Catholic clergy of the diocese and the bishops of Lutsk as well as sacral buildings (Catholic and Orthodox churches) or important social and religious events. There are also photographs of secular origin, depicting, among others, Dr Tarnawski’s Natural Medicine Institution in Kosovo. The photograph collection, as well as all the records of the Archives of the Lutsk Diocese, is not made available due to its poor state of preservation. All the archival holdings of the Lutsk archives are intended to be digitalized and made available in digital form.
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The beginnings of the Tarnow diocese date back to the end of the 18th century. From the beginning of its existence, the diocese collected documentation, which became the basis for its later historical archive. However, an independent institution of the Diocesan Archives in Tarnow was established only in 1959. Until the 1950s, all documents of historical value were deposited in the premises of the Diocesan Curia in Tarnow and in the diocesan museum. The biggest breakthrough in the history of the archive took place in 2009-2015. At that time, the institution underwent a thorough revitalization, during which the entire archival resource was inventoried and put in order, including the separation of 14 photographic departments. They are diversified in terms of subject matter, volume and form of recording the photos. In 2015, the photographic documentation in this archive totaled 33.32 linear meters. These collections also include items (photographs, groups of photographs) concerning the issues of education and upbringing. They are of great cognitive value and should be taken into account as iconographic sources in the research of historians and educators dealing with these issues. The article contains a separate list of 300 such items that may be useful from the perspective of researchers of the history of education and upbringing. The list will help them with the query in the Tarnów diocesan archives or will encourage them to carry it out. The article also discusses examples of such documentation in the form of “collections” dedicated thematically: the history of the Catholic Association of Women Youth in the Tarnow diocese, the Small Theological Seminary in Tarnow, the Primary School in Wojakowa and the biography of the Servant of God Stefania Łącka.
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The holdings of National Digital Archives include photographs taken and collected by photo agencies, Polish leading professional photographers, photojournalists and amateur photographers. Photographs stored in archive can be a separate groups and can be also parts of other fonds of files. In my article I will discuss the topic of archival fonds (collections) containing only photographic documentation. The methods of proceeding with archival materials are regulated by normative acts of the director of the Head Office of the State Archives: directive no. 7 of 30 January 2018 regarding registration of archival holdings in state archives and also directive no. 8 of 30 January 2018 about registration of archival fonds and creating and accepting of inventories for fonds (collections) in state archives. The directive no. 3 of NDAP of 9 September 2019 regarding rules of archival arrangement and developing of photographic documentation in state archives orders especially the method of processing of photographs. Photographic collections should have records. When the condition of photographs raises doubts, and also makes troubles during digitalization, it’s required to consult qualified conservator and, if needed, perform conservation. Recording and digitalization, with simultaneous repackaging to protective packaging are the next steps of work on archival fond (collection). Also the archival value of processed materials is rated during those works. The introduction to archival inventory contains information complementary to possessed knowledge about materials in fond (collection) and about their author (maker of collection). For all those works is best to use Integrated System of Archival Information (Zintegrowany System Informacji Archiwalnej, ZOSIA). In National Digital Archives are stored archival fonds and collections regarding church topics. In my article they are discussed due to interesting content, method of archival developing and description, issues of copyright and possibilities of further usage by users of archival holdings and rating of archival value. Those fonds are mainly: 3/19/0 Collection of photos regarding church celebrations of Millennium of Polish Baptism, 3/43/0 Photographic archive of Stanisław Porembski, 3/76/0 Collection of photos regarding beatification celebration of priest Jerzy Popiełuszko in Warsaw, 3/78/0 Collection of digital copies of photos regarding Benedictine abbey in Tyniec, 3/82/0 Collection of Marian Romaniuk regarding Primate of Poland cardinal Stefan Wyszyński.
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The article discusses the issue of the state of photographic documentation accumulated in the Archives of the Archdiocese of Częstochowa. It is held in two rooms (storeroom number 2 and research room number 2). In the first room, it forms a photograph collection (built up over many years and consisting of 536 albums and 4484 photographs), and in the second one, it is included in five record groups which are the archival legacy of deceased clergymen (15 albums and 1104 photographs, including 175 in a digital version). This documentation is arranged in two sections named: Non-Textual Material and Files of the Clergy, which are part of Department II containing documents and files produced by the institutions of the (archi)diocese of Częstochowa. As a result of the arrangement and inventory work, 881 items were separated and combined into specific groups and collections, for which appropriate inventories were produced. However, many photographs remain unidentified, therefore further stages of inventory work are delayed. Research conducted so far has revealed that all the photographic documentation has been well preserved and its content is of high historical value.
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This article presents a collection of historical photographs in the Diocesan Archives in Zielona Góra, which holds not only photographs documenting the ecclesiastical life of the diocese of Zielona Góra and Gorzów, but also those acquired from secular institutions and laypeople. The study aims to show the process of building up this collection (since 2003). The publication focuses on the creation of the Zielona Góra Diocesan Archives and presents an inventory of the photographic documentation, as well as a method of preserving and making it available to searchers. As of 31 July 2021, the photograph collection (group no. 50) comprised 12,488 items. An electronic inventory of the photographs is available on the website of the Diocesan Archives in Zielona Góra. The collected visual documentation is an open collection, to which successive photographs are still added. As far as recommendations are concerned, the entire collection should be digitalized in the future. This article is the first publication on the photographs in the holdings of the Zielona Góra Diocesan Archives and is a contribution to more detailed research. This study could be useful to researchers working with visual sources, notably regional and church historians as well as those who are passionate about old and new photographs.
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The collection of the archival photographs in the Diocesan Archives in Kielce contains 480 archival items relating to the history of the Kielce diocese. The photographs were taken in the 20th and 21st centuries, but there are also those depicting people who lived at the turn of the 19th and 20th centuries. The photographs are annexes to the documents produced by the offices of the Diocesan Curia in Kielce. Some of the photographs are legacies of the clergy. The photographs analyzed in this study should be referred to as „photographic documentation”.
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The Provincial Archive of Bernardine Fathers in Cracow and the Archive of Bernardine Monastery in Kalwaria Zebrzydowska have the largest collection of photographs which document the history of passion-marian sanctuary of Kalwaria Zebrzydowska. In 1999 the complex was added to the UNESCO list of World Heritage Sites and since 2000 it has been recognized as a Polish historic monument. Hence, it is appropriate to depict the photographic legacy of the Sanctuary in the present article. Most of the collections of photographs require studies and digitalization. They are pending to be published online. Lots of photographs in the Provincial Archive and in the monastery’s archive require ordering. They are scattered mostly in the Provincial Archive over the personal records of particular monks. Hopefully, soon they will find their place in the National Digital Archives, formed in 2008, which stores the biggest collection of photographs.
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Church museums and archives hold diverse categories of photographs. This diversity, combined with the fact that a photograph reflects an image of reality by technical means, raises the question of whether and which photographs are creative works subject to copyright protection. Eventually, the prevailing view was that a photograph reflects the image of reality, which is, however, modified by the photographer, thus potentially qualifying it as a creative work. In Polish literature and judicature the perception of requirements for a photograph to be considered a creative work changed over the years. Initially, only photographs characterized by artistry (beauty) achieved by the photographer’s efforts, such as aesthetic positioning of people, use of light etc., were regarded as creative works (this view seems to be still present in German literature). Later on, the requirements photographs had to meet to be seen as creative works gradually became more liberal.The key meaning was given to the subjective image of reality recorded by the author, which each time differs from the other image even of the same reality. If the subjective image based on the photographer’s choice of the captured fragment of reality is decisive for meeting the requirements for creative works, i.e. creative activity and individual character, every photograph is a creative work with the exception of those that are devoid of the element of choice, e.g. ID photos. However, it could be argued that the prevailing prerequisites are not stringent enough. Museums and archives hold photographic prints which cannot be equated with a photographic work. The medium of a photographic work and a photographic work are different legal and conceptual categories: the former is a physical object to which one has the right of ownership and the latter is in copyright. The ownership of the medium does not grant the right to the author’s economic rights.
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If regarding discursive creations we have codes, academic norms and ethical regulations that govern the author's activity, the world of images seems to be less ethically regulated and, with a few exceptions consisting of very general principles, seems to be an area without constraints. My article aims to emphasize the variety of problematic situations a photographer encounters and to provide some ethical guidelines.
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Helmut Gernsheim kritiseerib juba 1955. aastal avaldatud murrangulise raamatu „Fotograafia ajalugu” (History of Photography) alguses „esimest fotograafi” Nicéphore Niépce’i ja hoiatab lugejat „segaste ja kohati isegi eksitavate” terminite eest, mida vennad Niépce’id oma 1820. aastate keskpaiga eksperimentidest rääkides kasutasid. Gernsheim leiab, et „Niépce’id lähtusid vanema kunsti, eriti gravüüri oskussõnastikust”.1 Nüüd, peaaegu pool sajandit hiljem tundub, et segaduste põhjuseks on olnud vähesed teadmised 19. sajandi alguse gravüüri kui kunstiliigi enda ja selle seoste kohta äsja tekkinud fotograafiaga, mis võivad tolle perioodi visuaalkultuuri uurijaid mitmeti eksiteele viia. Pole kahtlustki, et vendade Niépce’ide vaatepunkti kammitsesid tollased kunstipraktikat ja -toodangut puudutavad arusaamad ning nende graveerimispraktikast lähtunud sõnavara on selle ilmseks tunnistuseks. Käesolevas artiklis püüan üldjoontes kokku võtta nähtuse, mida võiks nimetada ajavahemikule 1815-1860 iseloomulikuks visuaalmajanduseks, ning näidata, kui kohmakana paistavad mõned fotograafia ajaloo põhiseisukohad selles kontekstis. Keskendun küll ainult Prantsusmaale, kuid loodetavasti pakub see võrdlusmaterjali ka Inglismaal toimunu suhtes, mis, tõsi küll, erines mitmes olulises aspektis.
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