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"Photography in historiography"
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Research visual primary sources : photographs, paintings, video, and more!
\"How do we know so much about people and events from the past? Much of what we know comes from studying items used long ago. Research Visual Primary Sources: Photographs, Paintings, Video, and More! will help you dive deeper into studying history by showing you how to examine objects that were part of everyday life in the past\"-- Provided by publisher.
Book
The ethics of seeing
Throughout Germany's tumultuous twentieth century, photography was an indispensable form of documentation. Whether acting as artists, witnesses, or reformers, both professional and amateur photographers chronicled social worlds through successive periods of radical upheaval. The Ethics of Seeing brings together an international group of scholars to explore the complex relationship between the visual and the historic in German history. Emphasizing the transformation of the visual arena and the ways in which ordinary people made sense of world events, these revealing case studies illustrate photography's multilayered role as a new form of representation, a means to subjective experience, and a fresh mode of narrating the past.
eBook
Oral history and photography
\"This essay collection explores the \"photographic turn\" in oral history. Contributors ask how oral historians can best use photographs in their interviewing practice and how they can best understand photographs in their interpretation of oral histories. The authors present a dozen case studies from Australia, Brazil, Canada, Germany, the United Kingdom, and the United States. In exploring the intersection of oral history and photography, they complicate and move beyond the use of photographs as social documents and memory triggers and demonstrate how photographs frame oral narratives and how stories unsettle the seeming fixity of photographs' meanings\"-- Provided by publisher.
Book
Suspended Conversations
In Suspended Conversations Martha Langford shows how
photographic albums tell intimate and revealing stories about
individuals and families. Rather than isolate the individual
photograph, treat albums as texts, or argue that photography has
supplanted memory, she demonstrates that the photographic album
must be taken as a whole and interpreted as a visual and verbal
performance that extends oral consciousness. Exhibiting a
collection of photographic travelogues, memoirs, thematic
collections, and family sagas compiled between 1860 and 1960 and
held by the McCord Museum of Canadian History, this second edition
includes a revised and expanded preface along with new photographs
of the Notman albums. Printed in colour throughout, the enhanced
material draws out the distinct nuances and details of each album,
giving them new life to tell their stories. Albums are treasured by
families, collected as illustrations of the past by museums of
social history, and examined by scholars for what they can reveal
about attitudes and sensibilities, but when no one is left to tell
the tale, the intrigue of the album becomes a puzzle, a suspended
conversation. Langford argues that oral consciousness provides the
missing key. Correlating photography and orality, she explains how
albums were designed to work as performances and how we can unlock
their mysteries. A fascinating glimpse of the preoccupations of
previous centuries, Suspended Conversations brings
photography into the great conversation of how we remember and how
we send our stories into the future.
eBook
Suspended Conversations
Exhibiting a collection of photographic travelogues, memoirs, thematic collections, and family sagas compiled between 1860 and 1960 and held by the McCord Museum of Canadian History, this second edition includes a revised and expanded preface along with new photographs of the Notman albums.
eBook
SPIRALLING HISTORIES
In March and April 1923 the Dominion Museum undertook an ethnological expedition to the East Coast region of New Zealand's North Island, which was initiated and hosted by politician and scholar Apirana Ngata. Along with researchers Johannes Andersen, Elsdon Best and Peter Buck (Te Rangihīroa), the Museum's acting director, James McDonald, took photographs and made films which recorded the cultural practices and traditions of the Ngāti Porou people. These traces in manuscripts, photographs and movies of the relationships that shaped the expeditions still travel through space and time, spiralling into the future as they allow contemporary and future listeners and viewers to reconnect with the past. Although these people have long since died, they live on in McDonald's films and photographs, along with the many Māori people from the communities they visited, in documentation of ways of life which provide invaluable resources for cultural heritage and contemporary tribal development today. In this paper, McDonald's descendant (his great-granddaughter Anne Salmond) and Billie Lythberg reconstruct the activities of the team on the expedition, drawing on a rich range of archival and other sources, and then reflect on the meaning of these \"reflections\" drawn with breath and light on wax cylinders, nitrate film and paper, as well as current digital technology. Whether present in these recordings or as the eyes through which we see and the ears through which we hear, these hoa aroha 'dear friends'—McDonald, Ngata, Buck, Andersen and Best—cannot be disentangled from the archive, the people who hosted them, and the whakaahua 'images' they created together.
Journal Article
The ethics of seeing: 20th century German photography
Throughout Germany's tumultuous 20th century, photography was an indispensable form of documentation. Whether acting as artists, witnesses, or reformers, both professional and amateur photographers chronicled social worlds through successive periods of radical upheaval. 'The Ethics of Seeing' brings together an international group of scholars to explore the complex relationship between the visual and the historic in German history. Emphasising the transformation of the visual arena and the ways in which ordinary people made sense of world events, these revealing case studies illustrate photography's multilayered role as a new form of representation, a means to subjective experience, and a fresh mode of narrating the past.
eBook
Photographing the Mexican Revolution
The Mexican Revolution of 1910–1920 is among the world’s most visually documented revolutions. Coinciding with the birth of filmmaking and the increased mobility offered by the reflex camera, it received extraordinary coverage by photographers and cineastes—commercial and amateur, national and international. Many images of the Revolution remain iconic to this day—Francisco Villa galloping toward the camera; Villa lolling in the presidential chair next to Emiliano Zapata; and Zapata standing stolidly in charro raiment with a carbine in one hand and the other hand on a sword, to mention only a few. But the identities of those who created the thousands of extant images of the Mexican Revolution, and what their purposes were, remain a huge puzzle because photographers constantly plagiarized each other’s images. In this pathfinding book, acclaimed photography historian John Mraz carries out a monumental analysis of photographs produced during the Mexican Revolution, focusing primarily on those made by Mexicans, in order to discover who took the images and why, to what ends, with what intentions, and for whom. He explores how photographers expressed their commitments visually, what aesthetic strategies they employed, and which identifications and identities they forged. Mraz demonstrates that, contrary to the myth that Agustín Víctor Casasola was “the photographer of the Revolution,\" there were many who covered the long civil war, including women. He shows that specific photographers can even be linked to the contending forces and reveals a pattern of commitment that has been little commented upon in previous studies (and completely unexplored in the photography of other revolutions).
eBook
