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Photographs are rarely given much academic attention, especially, in Africa. This is against the popular use of photography in political communication. Against this background, this study examines the use of photographs in communicating political power in Zimbabwe and South Africa. The study will analyse photographs that circulated on Twitter on the week when Zimbabwean President Emmerson Mnangagwa and President Cyril Ramaphosa of South African assumed the power as Presidents of their respective countries in 2017 and 2018, respectively. Through the use of visual discourse analysis, as an analysis method, findings demonstrate that Mnangagwa and Ramaphosa were visually framed as the rightful heirs to the throne. The study further found that visual memories are used to 'argue' and make sense of the present. However, photography further evoked sad memories of the past that often characterise Mnangagwa and Ramaphosa's political image and these are the ghosts of Gukurahundi and Marikana massacres, respectively. [ABSTRACT FROM AUTHOR]

Despite the fact that corruption is essentially invisible, communication campaigns by the global anti-corruption industry regularly feature photographic images. So far, however, we do not know much about the narratives that are encoded in these images. Through the theoretical lens of postcolonialism, this paper takes a first step towards developing an understanding of the visual representation of corruption. Specifically, the paper applies semiotic and iconographic methods to two photography competitions run by Transparency International – the major non-governmental player in the anti-corruption industry. The analysis shows, first, that the anti-corruption industry reinforces colonial stereotypes, suggesting that the 'sinful' and 'irrational' Global South is waiting to be civilised by the North. Second, through its visual imagery, the anti-corruption industry also emphasises ideas of a 'humanitarian family', which serves to cover up the North's role in transnational webs of corruption. These findings are triangulated with semiotic/iconographic analyses of the Transparency International logo and the Corruption Perceptions Index map. [ABSTRACT FROM AUTHOR]

This article reflects on the Chilean literary and artistic production that begins around the 70's, where the relationship between photography and literature was strengthened; this relationship increased by mid-80. Photographic images are transferred to the artistic field through intermedial operations that plague the national literary scene with new artistic meanings. These disruptive signals converge in the construction of a hybrid text, and at the same time, enrich palimpsestic and mutable crosses between photography and literature. With the use of photographic images, texts such as De la tierra sin fuegos (1986) by Juan Pablo Riveros reconstruct scenarios where certain historical and social issues are discussed and confronted, such as the indigenous genocide of Southern Patagonia (1880-1920) and the Chilean military dictatorship (1973-1990). [ABSTRACT FROM AUTHOR]

We live in a world increasingly photographed from satellites, planes, and drones. Many scholars have viewed aerial imagery through a dystopian lens, largely due to its use by the state and its legacy of military applications. While problematic uses of aerial images persist, this paper theorizes rhetorical potentialities of aerial imagery. We posit how aerial imagery creates these potentialities through strategies related to questions of visibility, scale, and aesthetics. Using case studies that illuminate these strategies, we demonstrate how they can be used to resist state and corporate interests, constitute new social movements, and invite contemplation of otherwise repellent political subject matter. Ultimately, we argue that with increased technological access and the ability to reconfigure norms of expertise, the aerial view presents both opportunities for civic engagement and counter-hegemonic potential. [ABSTRACT FROM AUTHOR]

Through a reflection on the nature of photography (its referential and political ontology) this article discusses the effective possibility of a political use of photography in a contemporary post-industrial culture marked by the dialectics of hypo- and hypervisibility. Considering the case of photographs of a group of people whose disappearance was politically motivated (the 'Ayotzinapa 43'), this essay proposes the spectral ambiguity of images as one possible positive-political element of interrogation and restoration of the social. [ABSTRACT FROM AUTHOR]

The article talks about the photography of political violence and suffering, their objectifying nature, and the views of author Robert Hariman on the influence of such photographs. It presents Hariman's perspective on how the photographs generate political and ethical engagement, on civic spectatorship, and plural meanings developed from those images.

The author looks at the perspectives over the themes of his book "The Public Image: Photography and Civic Spectatorship," presented by authors including Cara Finnegan, Jens Kjeldsen, and Jon Simons. It talks about Finnegan on photography of political figures, Jens Kjeldsen on the influence of photographs on public rhetoric and political action, and Jon Simons on photography criticism

The author presents the forum which explores and discusses on the book "The Public Image: Photography and Civic Spectatorship" by Robert Hariman and John Louis Lucaites, and compares the views towards the nature of photography by the authors with those expressed by Marshall McLuhan. He notes McLuhan's opinion of photography's objectification of their subjects and Hariman's views of the ability of photographs to affect political and public culture.

The article presents an interview with photographer Christopher Pinney. It mentions his views on representation of politics in photography in the society along with meaning of the notion of the prophetic nature of photography; transgress the boundary between photography and theatre; and reviews on writing of book "Coming of Photography in India".

The article analyses the series Disko by Lithuanian-American photographer Andrew Miksys. After moving to Lithuania, Miksys photographed discotheques in villages and small towns between the years 2000 and 2010. The series Disko sparked controversy beyond its artistic context when it was appropriated by foreign and Lithuanian mass media and was said to represent Lithuanian nationhood. The contradiction between the denotative and the connotative aspects of Disko and between the different actual and possible functions of the series in particular social, political and cultural contexts are the main issues analysed in this article. It concludes with an assertion that this contradiction can be resolved by understanding the photographs as an opportunity to prevent the common and idealized myth of nationhood from becoming established ideology in art and politics. [ABSTRACT FROM AUTHOR]

Les Levine's was the first artwork to reflect on Duchamp's Étantdonnés after it had initially gone on public display. Opposing the temporary ban on photography of Duchamp's project, Levine surreptitiously took photographs from both right and left peepholes and combined them to create a stereoscopic image of the work. With the permission of Duchamp's widow, Teeny Duchamp, Levine produced a multiple for publication in a Chicago magazine the following year as what he termed an 'edited version' of the original. [ABSTRACT FROM AUTHOR]

There are a startling number of women artists making themselves the subject of their own work today. Many will make it a recurrent theme of their practice; others seem to go through a phase, either early or late on in their careers, where they feature themselves in their work. This might be an inevitable by-product of feminist studies, a subject covered in most art schools. Women artists grapple with theories about the engendered male gaze and attempt to position themselves within it. For young women artists it can almost be a rite of passage through which they must pass to find their own artistic voice. It could simply be due to the resurgence of interest in performance art in contemporary practice that leads so many female artists to use their own bodies as a tool for their work. This article sparked by the Evidence conference at FORMAT 2015 will consider the political implications of this use of the self. Four women artists using photography, all working in the United Kingdom, have been selected: Trish Morrissey, Sian Bonnell, E. J. Major and Melanie Manchot. Their work is taken as a starting point for some thinking around this subject. Each of the artists has been asked to respond to a series of questions and their comments punctuate this text; and I would like to thank them for contributing in this way. [ABSTRACT FROM AUTHOR]

Research indicates that news images of refugees have become increasingly negative, often portraying them as either innocent victims, who lack political agency, or as security threats, with the potential to threaten the host country's national security and identity. This article explores how Syrian refugees have been visually portrayed in the U.K. online media by employing a visual quantitative content analysis of 299 photographs of Syrian refugees in The Guardian, The Telegraph,andThe Independent. It looks at photographs published after images of Alan Kurdi, a young Syrian boy who drowned in the Mediterranean Sea, made global headlines. The findings suggest that Syrian refugees are regularly securitized and cast by the media as “Others” who exist in the state of exception. [ABSTRACT FROM PUBLISHER]

Copyright of Ethnologie Française is the property of Presses Universitaires de France and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay examines a body of photography books and exhibitions from the 1990s and 2000s, produced in Britain by professional photographers and supported by social and cultural organizations, which engaged with notions of collective identification and subjectivity, thus making significant political statements at a time when British society was going through major social changes and years of soul-searching. On the one hand, we specifically discuss how notions of identity like class, ethnicity and nation were addressed by photographic projects and were the subject matters for the politicization of the medium in the two decades. We argue that the demise of traditional forms of social documentary within professional art photography allowed for new artists and political issues to emerge. We show how some photographers and galleries engaged with "identity politics" at a time when multiculturalism was taking centre stage both in political and media discourse and in cultural policies. On the other hand, we also explore some of the more indirect ways in which photographers may have construed ways of dealing with notions of belonging, other than identity, or beyond identity, and suggested forms of collective and political subjectivity through concepts of historical and national narrative, connectedness, or social cohesion. [ABSTRACT FROM AUTHOR]

General introduction to the special issue reflecting on a (re)politicization of discourses on photography. [ABSTRACT FROM AUTHOR]

An essay is presented which examines how the photography series "Türken in Deutschland" ("Turks in Germany, 1972-79") by Candida Höfer served a social and political function in 1970s West Germany. It examines how the photographs contested representational norms in visual culture through Höfer's use of aesthetics, material formats, and modes of circulation. The author also discusses how the images helped create a public discourse for the disenfranchised minority group of Turks.

The article explores on the documentary photography of the American photographer Gordon Parks related to civil rights movement of African-Americans. It examines the racial content of Parks's photography with relationship between racial politics and the fashion industry. It also cites the symbolic social power of fashion for whites and black Americans.

Copyright of Secuencia: Revista de Historia y Ciencias Sociales is the property of Instituto de Investigaciones - Dr. Jose M. Luis Mora and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Österreichische Zeitschrift für Soziologie is the property of Springer Nature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article analyses a representative selection of photographs from the Archivo General de la Nación Argentina produced by an army of photographers who assiduously chronicled Eva and Juan Domingo Perón’s public engagements. These images were shrewdly informed by an array of popular forms (tango lyrics, the storylines of photo–romances, movies, and radio serials), and by a set of visual models borrowed from the nineteenth-century photography tradition, commercial photography studios of celebrities, Hollywood fashion codes, Soviet-related paradigms anchored in the legacy of the socialist and anarchist movements of early twentieth-century Argentina, and from royal and religious iconography. Through their careful staging before the camera, Perón and Eva amalgamated these visual traditions with their political content in order to reach and unify the multiple socio-political constituencies of Argentina at the time. The conventional aesthetic – in terms of view angles, lighting, and composition – of such images granted their movement a patina of legitimacy and the sense of an enduring legacy. [ABSTRACT FROM PUBLISHER]

The article provides an overview of the violent erection of a Jewish state and a visual archive of the ruination of Palestine. It explores how the practice of photography was monopolized brutally by the militant faction of Zionists as part of the constructive violence that the Palestine exercised from 1947 to 1949. It discusses the abrupt monopolization which impacted Palestinian photographers from Jewish and Arab origins, although in entirely different ways.

On April 17, 1975, Phnom Penh, the capital of Cambodia, fell to the armed forces of the Communist Party of Kampuchea ( CPK). Cambodia, however, was not primed for revolution. This is significant in that it contributed to specific postconflict policies and programs initiated by the CPK, including the promotion of geographic education and the use of propaganda photographs. In this article we examine six photographs produced during the Khmer Rouge era. Our main thesis is that when viewing these photographs, we are witnessing the photographic production of a nationalist landscape. As geographers have argued, photographs are inauthentic from the standpoint of 'truthful' representations. However, the photographs produced by the CPK are authentic simulacra in their 'truthful' representation of how the CPK envisioned both the revolution and subsequent administration of Democratic Kampuchea. In so doing, our research is positioned within a longer tradition of cultural-political geography that has examined the use of landscape photographs as political instruments used in nation-building. [ABSTRACT FROM AUTHOR]

In the nineteenth century, the Ottoman empire's large-scale development was illustrated by the new medium of photography. Different territories of the empire were photographed and Ignác Alpár, a significant architect of Hungarian Historicism, purchased some of these photographs. Alpár's interest in oriental art derived from the ideology of Turanism believing that a Hungarian national style could be developed with the use of oriental motifs. One of the photographs ('Tombs of Mamluks, Cairo') of the collection provides some evidence of this idea. The essay develops the background and evidence for the Hungarian-oriental relationship at the turn of the nineteenth-twentieth century. [ABSTRACT FROM AUTHOR]

An essay is presented which discusses the role that Chicano photography played in the Chicano movement's efforts to achieve political and social justice during the 1960s and 1970s. An overview of the role that Chicano photography played as a cultural production, including in regard to its impact on the Chicano social movement, is provided.

Group Material’sTimeline: The Chronicle of US Invention in Latin and Central America(1984) at P.S.1’s Center for Contemporary Art explored the framing devices of installation art and photography in tandem, as a means of reconfiguring the distribution of the sensible at the height of the Cold War. In response to escalating crisis (including continuous Central Intelligence Agency operations being carried out in Nicaragua and El Salvador), this activist project employed postmodern strategies such as appropriation, pastiche and a resistance to conclusiveness in order to suggest provocative and unexpected dialogues between disparate artworks and artefacts across time and geopolitical difference. Artists ranging from Richard Prince and Barbara Kruger to John Heartfield, Tina Modotti and Arellano Bolivar, among others, come together as signs of political and aesthetic conflict, as networks of visual culture that complicate dominant narratives of spatial and temporal reality during the Cold War era. Closer analysis of such works reveals historical ruptures alongside continuities, relayed by official government policy, mass media and the art world more broadly. By excavating a long-standing history of conflict,Timelineaddresses the stakes of the ownership of meaning itself in the mid-1980s, with implications regarding art production and politics for generations to come. [ABSTRACT FROM PUBLISHER]

This article presents a case study of the Solentiname archipelago in Nicaragua theorised as a site for the construction of utopia, an idealised environment where an alternative community was formed during the 1960s and 1970s, in opposition to the Somoza dictatorship (1936–79). The leadership of Ernesto Cardenal led to the creation of an enduring cultural legacy, which was essential to the development of the Sandinista revolutionary movement as well as to sustaining the Sandinista government following the victory in July 1979, particularly during the Contra War (1981–90). Applying art historical analysis, the article investigates how photography contributes to the formation of revolutionary identities, by fulfilling both descriptive and ideological purposes. Despite the scarcity of the surviving visual record from the islands, I argue that photographs of the site were fundamental in establishing the role of the community as a strategic ally for the rising opposition against the Somoza dictatorship. Not only did photography help envision utopia, it equally contributed to situating these hopes in the context of daily realities, resisting the regime. Other forms of art and literature that developed in Solentiname in the years leading up to the Revolution of 1978–79 further shaped revolutionary identities, as grievances about poverty, inequality and political repression were expressed through egalitarian high–low aesthetics. The case of Solentiname thus serves to open a discussion concerning under-explored cultural alliances within Latin America and beyond, providing a close-up view of localised aesthetic practices seen in relation to transnational solidarity networks, framed by the context of the massive sociopolitical transformations underway during the Cold War. [ABSTRACT FROM PUBLISHER]

The article discusses the writings of theorists Susan Sontag and Ariella Azoulay on the photography of suffering and catastrophe. While Sontag was concerned that photography could anesthetize audiences to the suffering of others, Azoulay argues that photography creates a global citizenry existing outside of state power which can empower both the photographer and those being photographed. The exhibit "War/Photography: Images of Armed Conflict and its Aftermath" is also discussed.

In January 1941, six months into the German occupation of Paris, the American photographer and filmmaker Ralph Steiner, in his capacity as weekend photography editor for the New York City daily newspaper PM, generated a small but important controversy when he published a series of photographs by Lisette Model featuring sour portraits of indulgent Mediterranean vacationers, under the explanatory headline: "Why France Fell." It was a bitter if arguably misplaced indictment of bourgeois apathy in the face of encroaching fascism. Notably, in its published answer to the flood of angry letters that poured into the tabloid in response, PM defended Steiner's tendentious mobilization of these photographs by reference to the ethical obligations not of journalism but to those of the theater and the art gallery--sites of critical judgment. This representative episode reflects Steiner's and PM's wider photographic ethos; one that, not in spite of but because of its very fallibility, was productively radical in its refusal of a set of professional dictates about photography's evidentiary character naturalized by an entrenched and politically pernicious journalistic culture. [ABSTRACT FROM AUTHOR]

Udo J. Hebel examines the recent critical history of visual cultures in American Studies in his essay "'American' Pictures and (Trans-)National Iconographies: Mapping Interpictorial Clusters in American Studies," focusing his analysis specifically on "political photography" and the concurrency of contexts that inform his reading of the history of US presidential images. This beautifully researched article, previously published in American Studies Today: New Research Agendas (Heidelberg: Universitatsverlag Winter, 2014), takes up questions related to "tensions" between disciplinary concerns and transdisciplinary potentialities for interpreting the representation of the political inside the framework of transnational American Studies. [ABSTRACT FROM AUTHOR]

The article presents a report from an October 16-18, 2014 conference in Berlin, German on the politics of eastern central Europe after 1945. Topics of presentations delivered included political controls over Hungarian photography from 1965 to 1989, conflict between religion and the East German government, and social deviants in socialist Czechoslovakia.

Through a focus on photographic portraits commissioned in the late nineteenth century by the Ottoman-Egyptian Princess Nazlı Hanım, Roberts analyses the ways they tested Ottoman and western conventions. An examination of Nazlı's strategic engagement with photography in this period positions her within the often-separated domains of Egyptian nationalism, Ottoman political reform, western Orientalist art and a proto-feminist moment of Egyptian women's history. One of the striking things about the Nazlı portraits is their transgressive inventiveness. This is transgression as Edward Said defines it, with an emphasis on crossing boundaries, testing and challenging limits, and cutting across expectations. Nazlı's inventiveness is apparent through her canny experimentation with the codes of portrait photography and the ways she deploys her portraits as tokens of exchange within her culture and with her European interlocutors. Roberts argues that Nazlı Hanım's use of photography operates in a contrapuntal mode in the Saidean sense of a simultaneity of voices that sound against, as well as with, each other. Over the last three decades Said's writings have provided a crucial methodological framework for the critique of western Orientalist visual culture. Recently art historians have repositioned this corpus of western imagery in relation to art by practitioners from the region and addressed cultural exchanges. Said's seminal text Orientalism has been pivotal within these debates. Yet it is not so much this landmark book, but rather Said's writings on music, in which we can find an alternative approach to cross-cultural exchange. By transposing this model into the domain of art history, Roberts engages with his notion of reading contrapuntally. Said was interested in the broader applicability of this term, although its potential as an interpretive model for the visual arts remains unexamined. Through this case study of Nazlı Hanım's photographs, Roberts reassesses the value of Said's writings on music for understanding nineteenth-century visual culture. [ABSTRACT FROM AUTHOR]

This article reconsiders the politics and aesthetics of aftermath photography. Many critics have argued that the emerging, experimental genre of documentary photography ‘abstracts’ and renders ‘sublime’ the traumatic historical events that it takes as its subject matter. While these terms accurately reflect the aesthetics of aftermath photography, their politics cannot, the author argues, be so easily dismissed. The article reconsider the genre through Gene Ray's theories of the sublime and Rosemary Laing's photographwelcome to Australia(2004) in order to offer a better understanding of what is at stake in this new mode of documentary photography. [ABSTRACT FROM PUBLISHER]

This paper focuses on the increasingly important role played by pictorial journalism in the struggle for Nigerian self-rule. From the late 1920s onwards, daily newspapers printed portrait photographs with a pro-colonial slant: members of the colonial administration, international heads of state, foreign ministers and, occasionally, the highest-ranking Nigerian politicians. To challenge a dominance of pro-colonial depictions, the anti-colonialWest African Pilotintroduced a new style of printed portrait photographs in 1937 that became a role model for other newspapers in the 1940s and the 1950s. This article focuses on the use of these portrait photographs for the political propaganda of party-affiliated newspapers, such as theDaily Service, theWest African Pilotand theSouthern Nigeria Defender, which were published in the southwest of Nigeria. The technological difficulties of printing photographs in newspapers in the 1940s meant that editors had a limited choice of which portrait photographs to include (mainly photographs of politicians, businessmen and chiefs were available). The editors were further constrained by the scarcity of photographs of ordinary people. In addition, photographs depicting the colonial administration’s personnel or edifices were not in line with the editorial policy of the anti-colonial newspapers. In the 1950s, when Nigerian newspapers were able to afford the technological equipment to reproduce their own photographs, a representative cross-section of Nigerian society was still rarely included in the portrait photographs. The photographs that were printed showed the self-fashioning of Nigerian leaders of democratic parties, ahead of the emergence of a new style of democratic and charismatic leaders in Senegal. Although these anti-colonial images were more democratic than the old colonial images in pro-colonial newspapers, they replaced the imperial hierarchies which editors rejected, with the new social hierarchies of local Nigerian elites foreshadowing the politics of independent Nigeria. [ABSTRACT FROM PUBLISHER]

The article discusses the history of photography in Imperial Russia and the Soviet Union and its role in historiography. The political role of photography is analyzed, the use of photographs as historical sources is debated, and research on the history of Russian and Soviet photography is criticized. Information is provided on the reaction of the Russian government to the introduction of photography, the relationship between art and photography, and the history of Russian and Soviet photojournalism.

If we assume that "deletion of fingerprints" is one of the cruelest consequences of totalitarian practices, a political philosophy that is attentive to the consequences of totalitarian political violence will have to be responsible for the issue of "fingerprints". The aim of this paper is to address this issue based on Benjamin's theory of photography. In fact, we attempt to understand the final idea in the Little History of Photography when, referring to Atget's photographs, he reveals the political potential of photography in modern times: the reconfiguration of a crime scene where the fingerprints have been erased. [ABSTRACT FROM AUTHOR]

Bonn's ascension to the rank of capital city in 1948/1949 represented the first major success of a new political culture and the original aesthetic imperatives it was designing. In 1948 five cities, Berlin, Bonn, Frankfurt, Kassel and Stuttgart, vied to be chosen capital city of the soon to be formed Federal Republic of Germany. When the dust settled, the unexpected had occurred; the sleepy university town in the Western reaches of the country, Bonn, had triumphed over a cultural centre, financial centre, commercial centre, and the former capital city. The new political aesthetics were firstly based on the repudiation of any aesthetic program associated with either National Socialism or Monarchism, Third Reich or Wilhelmine Germany. Carlo Schmid warned that nomina sunt omina--names are omens! 'Names express what is really there, or ought to be there', that is, the essence of things. Although Schmid was warning about the name of the future constitution, his attitude reflected a broadly held belief that names and symbols are important, even crucial signifiers. This paper explores the ways the choice of Bonn was perceived by West Germans in their visual media through a look at several political cartoons and how the cartoons and official state press photographs from the Bundesarchiv collection contributed to the formation of Bonn's symbolic identity. [ABSTRACT FROM AUTHOR]

The article discusses the traveling exhibition "The Family of Man," a photography show that toured throughout the world between 1955 and 1962. The author analyzes the exhibition from the perspective of the viewing context of South Africa, suggesting that doing so allows for a more expansive discussion of the politics of humanist photography. In addition, the author addresses the role played by the exhibition's curator, Edward Steichen, and examines photographer Allan Sekula's criticism of the show.

This paper examines the mid-nineteenth century photographic collecting practices in the Colonial Office (CO) in London. Following methodologies laid down by Stoler and Joyce, the paper excavates the epistemic procedures through which photography and its role in colonial governance operated between the late 1860s and 1875. I focus my analysis on the production of, and response to, two CO despatches, which were circulated in November 1869 requesting photographs. But what was the work expected of these photographs, what were they meant “to do”? What was their relationship with anthropology and geography? The paper argues that in the praxis of central government, the role of photographic evidence was more uncertain and confused than instrumental interpretative models have assumed. I shall argue that in many cases photographs were not “evidence” in any dynamic sense in information provision, but rather functioned as tools of reassurance. [ABSTRACT FROM PUBLISHER]

Of the myriad analytical approaches to photography and its practices in colonial Africa, the perspective most often muted is that of black African photographers who were among the most numerous and prolific producers of these early image-objects. The lack of attention to their activities represents a glaring omission in photographic histories of the continent and further evidence of the legacies of silence perpetuated by the colonial project. As a consequence, there are undeniable archival difficulties in recuperating the lives and careers of black African photographers. However, these photographers are important actors worthy of the effort because of their level of immersion within the geographies and processes of visual economies of this formative period. Using Gold Coast-born and Lagos-based Neils Walwin Holm as a case in point, this article explores how black African photographers not only produced image-objects for their clients, but used their photographic oeuvres, practices and networks to advance their own personal ambitions, professional careers and social reputations. Ultimately, this article underscores the need for greater breadth and depth of scholarship on these early colonial-era African photographers – invisible black actors who were essential contributors to the history of photography in Africa. [ABSTRACT FROM PUBLISHER]

Since photographic document always bears the marks of a given universe imagined, subject to fictionality inherent in all assemblies plot as an act, the purpose of this article is to analyze the photographs archival materials disclosed in remembrance of the Brazilian military dictatorship in the magazine Veja, published in the decennial anniversaries of the 1964 coup, from the methodological assumptions of the rhetoric of image. If, in some cases, archival photographs reinforced the argument of the report, in others, they created a parallel narrative, framing the present through an interpreted past. [ABSTRACT FROM AUTHOR]

This article discusses 'visual bordering processes' and the aesthetic strategies used in border photographs. The two main objectives are, firstly, to discuss the politics of aesthetic strategies in photographical process of border-building and/or border-unbuilding in Soviet and Finnish photographs of the 1930s. Secondly, the aim is to show how the different aesthetics strategies of establishing and disestablishing 'the other side' create ambivalences about the border existence in the photographs studied. This article forms a comparative position on Finnish and Soviet border communities of the pre-II-World-War Finland and Soviet Union in the late 1930s. The aim is to draw a parallel between how photographic publications perceive and discursively construct borders and the aesthetic strategies used in the pictures themselves. I seek to show how the national border divides aesthetic strategies used in photographs. The studied photographs are similar by themes, but show the border of reference codes between two aesthetical systems. [ABSTRACT FROM AUTHOR]

The taking and publication of photographs played an important role in Mozambique's independence and in the years after 1975. As settlers departed Mozambique in the wake of riots and the Portuguese handover of power, the newly independent government, Frelimo, assumed control of abandoned commercial studios and other photographic equipment. Frelimo used legal and technical distinctions to create a group of photographers who traveled with and photographed its leader President Machel, while the other photographers, lumped under the heading 'commercial', were responsible for studio portraits also known as headshots. In one respect, press photographs allowed Frelimo to document and transmit its political ideologies to public audiences. In another respect, commercial studio portraits, which individuals carried on identification cards in their wallets, permitted Frelimo to categorise populations as employed versus unemployed or as possible enemies of the state. These contrasting forms of image making illuminate the reality that Frelimo supplemented the 'more positive' political power represented through press photographs of President Machel with 'more negative' forces of self-identification and public shaming. This article uses photographs and oral histories with photographers, journalists and government leaders to explore the inter-relationship between press and commercial photography from 1974 to 1982, a time of transition for the Frelimo government from a liberation movement into a political party. By exploring the uneasy and tenuous relationship that ensued between institutions and technologies that supported photography's practice in Mozambique, this article considers how Frelimo's control over photography -- and photographers' own compliance -- impacted on the historical and visual representation of Mozambique's independence. [ABSTRACT FROM AUTHOR]

Kok Nam began his photographic career at Studio Focus in Lourenço Marques in the 1950s, graduated to the newspaper Noticias and joined Tempo magazine in the early 1970s. Most recently he worked at the journal Savana as a photojournalist and later director. This article opens with an account of the relationship that developed between Kok Nam and the late President Samora Machel, starting with the photographer's portrait of Machel in Nachingwea in November 1974 before Independence. It traces an arc through the Popular Republic (1976-1990) from political revelation at its inception to the difficult years of civil war and Machel's death in the plane crash at Mbuzini in 1986. The article then engages in a series of photo-commentaries across a selection of Kok Nam's photographs, several published in their time but others selected retrospectively by Kok Nam for later exhibition and circulation. The approach taken is that of 'association; exploring the connections between the photographs, their histories both then and in the intervening years and other artifacts and mediums of cultural expression that deal with similar issues or signifiers picked up in the images. Among the signifiers picked up in the article are soldiers, pigs, feet, empty villages, washing, doves and bridges. The central argument is that Kok Nam participated with many others in a kind of collective hallucination during the Popular Republic, caught up in the 'political sublime'. Later Kok Nam shows many signs of a photographic 'second thinking' that sought out a more delicate sublime in his own archive. [ABSTRACT FROM AUTHOR]