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Claudia Rankine's Citizen: An American Lyric (2014) makes legible what neoliberalism has obscured – the ongoing, even the intensification of, white supremacy's organization of social space. This essay shows how Rankine illuminates an American landscape forged in history, steeped in memory and invested with symbolic meaning to argue that it is, fundamentally, constructed by and entangled with white supremacy. Rankine reworks pastoral lyric imagery and documentary photography to situate contemporary anti-black violence within a longer history of white terror. She defamiliarizes the language of reportage to critique documentary strategies of visual evidence that reinscribe racial hierarchies through reliance upon an unmarked white gaze. In place of individual testimony, documentary evidence and bounded lyric subjectivity, Rankine gathers an assembly of voices, employing rhetorical strategies that resist the violence of neoliberal individuation. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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 study examines the visual representation of vulnerable individuals in documentary photography while prioritising ethical considerations and aiming to avoid exploitation. By leveraging the power of symbolic commentary, the research aims to capture social situations that address vulnerability without revealing the identities of the subjects. Focusing on Bet Sheekoom: House of Restoration for Women and Children and Maranatha Mission Station, the documentary series portrays these environments and their residents without disclosing any personal identifiers. This approach safeguards the participants from potential harm and aims to ensure their anonymity, while still engaging in a meaningful societal dialogue. Drawing on principles from documentary photography, visual studies, and ethics, this research contributes to understanding responsible representation and power dynamics within the visual representation of vulnerable identities. By navigating the delicate balance between social commentary and ethical practices, the study offers insight into alternative methods of capturing and highlighting vulnerable populations. The findings shed light on the significance of ethical considerations in documentary photography, demonstrating the importance of respecting the dignity and privacy of vulnerable individuals. This study contributes to the broader discourse on visual representation, offering valuable insight for practitioners, scholars, and those interested in the ethical dimensions of photography. [ABSTRACT FROM AUTHOR]

Among lens-based artists and educators, the generative potential of annotating photographs, especially in participatory contexts, is commonly understood. Responding to a lack of cohesive labelling and description of these practices in the literature, the authors identify them as elaborated images and categorise how the method operates. Elaborated images unsettle the authoritative perspective of the photographer, since, by layering their reactions directly atop the photograph, participants actively disrupt static notions of meaning. We argue that elaborated images as a visual method can enable researchers to emphasise polyphony, honour refusal, support truth-telling, contribute to the restoration of relationships, and imagine alternative futures. We draw on the participatory art practices of a growing number of social documentary photographers and consider what their approaches could bring to visual research. [ABSTRACT FROM AUTHOR]

This article examines the transformation of photography in China during the 1980s, specifically the shift from state-controlled visual culture to a more diverse and independent artistic expression. It discusses the concept of the "third realm," an intermediate space between the state and society, and how it influenced photography during this period. The article explores the role of camera clubs in promoting aestheticism and propaganda photography, as well as the emergence of independent photography groups that challenged these dominant modes. It highlights the tensions and negotiations between different approaches to photography in China during the 1980s, and how collaboration between the state and society shaped its development. [Extracted from the article]

The purpose of this study is to discover the elements of fantasy in Martine Franck’s documentary photographs, as well as to analyse the completeness, intentionality, and persuasiveness of the created images of illusory existence. The object of the study is the projects of Martine Franck created in the 1970s‐1990s. What contributed to Franck’s creative method was education in art history, the artistic phenomena of the first half of the 20th century, and collaboration with her husband, a prominent figure in documentary photography, co‐founder and ideologist of Magnum Photos, Henri Cartier‐Bresson. Franck’s thematic repertoire is extremely diverse, which provides a sufficient array of images to identify patterns withing the stated research topic using mainly the method of comparative analysis. No other studies on the search for the elements of fantasy in Franck’s work have been found. The examination of Franck’s photographs has allowed systematizing the elements of fantasy in her documentary photography projects and analysing the master’s figurative language and selected technical solutions.

In the polyphony of feminine gazes of post-World War II Italian documentary photography, Marcella Pedone (Rome, 1919 - Milan, 2023) occupies a place of absolute prominence. She has remained on the margins of official historiography despite the two features of unquestionable uniqueness that characterize her: first, the production of an impressive visual archive consisting of 170.000 color images taken between the early 1950s and the late 1990s, and, subsequently, the methodological paradigm of her photographic practice that led her to travel solo throughout the country with the aim of shaping a multifaceted visual atlas of the Italian province and delineating the complete portrait of a country poised between backwardness and modernity, rurality and the push toward progress. Unlike many of her contemporaries, she does not analyze single microcosms, but creates with scientific rigor the portrait of an entire nation in its landscape, social, economic and folkloric components, thus constructing a visual mosaic capable of rescuing lost worlds of Italian reality from the flight of time and becoming a fundamental piece of national memory.

This article examines two photographic series by Kang Yong Suk that explore the landscapes and lives of people living in state villages near the Korean Demilitarized Zone (DMZ). These villages were established for ideological propaganda and to prevent military conflicts within the DMZ. Kang's photographs focus on Yugok-ri village and show how it has changed over time. The article also discusses the importance of border art in understanding border transformation and representing individuals in border regions. Kang's photographs challenge traditional visual styles and aim to bring attention to marginalized individuals and challenge dominant narratives. [Extracted from the article]

Copyright of Revista Fotocinema is the property of Revista Fotocinema 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 considers architectural photographer Harry Drinkwater's documentation of artist Noah Purifoy's 66 Signs of Neon (1966–69), a group assemblage sculpture exhibition created in response to the 1965 Watts uprising. 66 Signs of Neon is remembered as a watershed exploration of Black identity through assemblage sculpture, yet the importance of photography to the exhibition has gone unconsidered. Situating Drinkwater's contribution to 66 Signs of Neon in period discourses on architectural photography and urbanism in Los Angeles, I show how Drinkwater's photographs shaped the exhibition's response to the Watts uprising through a non-interventionist approach, one that fulfilled his role of documenting the exhibition. By looking at Drinkwater's manipulation of the conventions of architectural photography, the very photography that we expect to document rather than respond, I demonstrate that the encoded racial politics of urbanism informed collaborative exhibitions as well as collective responses to social crises. [ABSTRACT FROM AUTHOR]

This text explores the photographic documentary work on the city of Glasgow by Thomas Annan in the mid- to late nineteenth century. I focus on Annan's most well-known project— The Closes and Streets of Old Glasgow, 1868-1871, which remains the most significant urban focus in his work. I will begin by briefly outlining Annan's position in the history of photography and the relation of his photographic work to the city of Glasgow. Subsequently, I will engage directly with the volume of interest and outline the character of the photographs. Finally, I will provide an analysis of Annan's photographic work and the manner in which he contributed to a classed construction of the city of Glasgow through documentary photography. In particular, I will explore the images themselves through the lens of critical visual theory and relate them to the urban space of Glasgow itself. [ABSTRACT FROM AUTHOR]

The article explores the work of South African artist Mikhael Subotzky, specifically his series of photographs called "Die Vier Hoeke" which examines life in Pollsmoor Prison. The author commends Subotzky for his ability to capture the everyday aspects of prison life without sensationalism or moralizing. The article also discusses Subotzky's other projects that explore themes of freedom, subjection, and racial ordering in post-apartheid South Africa. The author visits Subotzky's studio and encounters his tape-transfer compositions, which they find visually intriguing and frustrating due to their evanescent nature. The text also delves into Subotzky's exploration of the ontology and epistemology of photography, as well as his critical reflection on whiteness and settler colonialism in post-apartheid South Africa. The author concludes by praising Subotzky's latest film, "Epilogue: Disordered and Flatulent," as a culmination of his complex artistic journey as a white South African. [Extracted from the article]

The concept of Slightly Out of Focus, attributed to the photographer Robert Capa, is a line of research that invites us to delve into icons, such as the photographs “The Falling Soldier” and “Crawling through the Water”. Regarding the version presented by proponents of Robert Capa’s work and the results of recent investigations, there are some discrepancies regarding the classification of The Mexican Suitcase II and his photographic style. The conflicts concerning cameras lost negatives, and the effect of blurriness in both icons are coincidences that may form a pattern in the discourse about Robert Capa. This research also analyzes two theses on the biases of press photography and documentary photography. The first thesis considers that in press photography, staging is fraudulent information, but not in documentary photography. The second thesis posits that staging is an unacceptable fraud in both photographic biases. The methodology applied in both theses compares two icons of Robert Capa, considered typical of press photography, with two other icons by photographer Arthur Rothstein, namely, “Cattle Skull” and “Dust Storm”. Rothstein is a reference figure in documentary photography and the 1936 Resettlement Administration program, later known as Farm Security Administration. The press’s reaction to the staging of the photograph Cattle Skull left no doubt about the incompatibility of staging in the context of documentary photography. [ABSTRACT FROM AUTHOR]

The aftermath of World War II (WWII) left numerous European cities devastated, necessitating extensive reconstruction efforts to restore their urban fabric. The city of Poznań, located in western Poland, was no exception, as it bore witness to widespread destruction during the war. In this abstract, we delve into the role of photography in documenting the ruins of Poznań after WWII and how these visual records have contributed to the city's subsequent reconstruction. This research explores the visual representations of post-war ruins in Poznań through the lens of documentary photography. By examining archival photographs, contemporary accounts, and historical narratives, we aim to analyse the significance of these images in understanding the extent of the destruction and the subsequent efforts to rebuild the city. The abstract highlights the inherent power of photography to capture the raw reality of urban devastation, conveying the magnitude of the challenges faced by the city's inhabitants in the aftermath of war. Furthermore, it sheds light on the ways in which photographic documentation played a crucial role in informing reconstruction initiatives, acting as a visual guide for architects, urban planners and policymakers. Drawing from the rich visual archive of post-war Poznań, this study showcases how photographs served as a valuable resource for documenting architectural losses, mapping destroyed areas and preserving cultural heritage. By juxtaposing historical photographs with contemporary images, we examine how the city's landscape has evolved over time, tracing the progression from ruins to reconstruction. [ABSTRACT FROM AUTHOR]

In this essay I adress the issue of postsocialist transition as it was captured by three photographers of the former socialist states: Boris Mikhailov, Alexander Gronsky, Tamas Dezsö. The sudden transition that followed the fall of the Berlin Wall had visible consequences on the socioeconomic reality in Eastern Europe, „the post-soviet man” trapped in a liminal space, on the border between a failed ideological project he tries to erase from its history (socialism) and one that fails to fulfil its promises, and even proves destructive (neo-liberalism). Combating normative Northwest European aesthetics, through the selected series of photographs I make a critique of the post-socialist period, showing in what way the new reality of late capitalism ruins homeless bodies and derelict spaces. Boris Michailov shows that the new dominant ideology is written in the flesh, choosing to take photos of the social class that suffers the most in post-socialism, and Alexander Gronsky and Tamas Dezsö contribute to a panorama of places that are no longer destinations in themselves, but unwelcoming or abandoned, because in late capitalism people migrate to metropolises. [ABSTRACT FROM AUTHOR]

This paper explores the cultural operations of Zhou Ming's photography (b.1960), which was aimed at exploring the deeper changes that have gripped the unstoppable urban renewal of Shanghai. His photo-essay Shanghai: An Alternative View (2000–2005), showcases the absurd and incongruous organic and inorganic spaces devoted to new points of view about the ruins that lay behind an assortment of high inner-city density residential areas situated in the Zhabei, Huangpu, and Houkou districts. Zhou Ming's drive to de-humanize his apparent humanist photography through everyday objects and other signage found during his walking practices, also reveals multiple surrealist metaphoric representations between the materiality of the city and a slanted exaggeration of reality. His documentary camera sets out an ontological shift vis-à-vis the incidence of the everyday 'found objects', in which the privilege of humans over objects disappears. The aim of this article is to demonstrate how the photographer's speculative aesthetics raises the need to redefine Chinese contemporary photography with theories linked to object-oriented ontologies and in general, to new materialism. This can be interpreted as a historical-cultural consolidation of media continuum that also embraces pre-photographic practices that can liberate objects and subjects from 'sensitive' content in a post-socialist reality. [ABSTRACT FROM AUTHOR]

Purpose: The pudendal nerve is an anatomical structure arising from the ventral branches of the spinal roots S2–S4. Its complex course may be affected by surrounding structures. This may result in irritation or entrapment of the nerve with subsequent clinical symptoms. Aim of this study is to review the anatomy of the pudendal nerve and to provide detailed photographic documentation of the areas with most frequent clinical impact which are essential for surgical approach. Methods: Major medical databases were searched to identify all anatomical studies investigating pudendal nerve and its variability, and possible clinical outcome of these variants. Extracted data consisted of morphometric parameters, arrangement of the pudendal nerve at the level of roots, formation of pudendal nerve, position according to sacrospinal and sacrotuberal ligaments and its terminal branches. One female cadaver hemipelvis was dissected with common variability of separate course of inferior rectal nerve. During dissection photodocumentation was made to record course of pudendal nerve with focus on areas with recorded pathologies and areas exposed to iatrogenic damage during surgical procedures. Results: Narrative review was done to provide background for photodocumentation. Unique photos of course of the pudendal nerve was made in areas with great clinical significance. Conclusion: Knowledge of anatomical variations and course of the pudendal nerve is important for examinations and surgical interventions. Surgically exposed areas may become a site for iatrogenic damage of pudendal nerve; therefore, unique picture was made to clarify topographic relations. [ABSTRACT FROM AUTHOR]

The Colombian Pacific is a territory-region occupied mostly by black communities that have a traditional way of life based on fishing, agriculture and traditional extractivism. However, with the arrival of developmental logics, this way of life begins to undergo transformations that place traditional territorialities in confrontation with other logics external to the community. Therefore, the objective here is (1) to characterize the traditional Afro-Colombian way of life, especially in its symbolic relationship with artisanal fishing, (2) to identify fishing territorialities and (3) to analyze the territorial conflicts present in Bahía Solano. For this, fieldwork was carried out with participant observation, ethnographic reports, photodocumentation and interviews with a semi-structured script, with the aim of providing a contribution from an interdisciplinary perspective, still absent in research in this region. It was observed that with the insertion of communities into "external" and more profitable productive logics, such as tourism, drug trafficking and industrial fishing, new territorialities are superimposed. In these new territorialities, as in the more traditional ones, the sea is a necessary element for the reproduction of the Afro-Colombian way of life, especially through work and food. [ABSTRACT FROM AUTHOR]

Copyright of Revista Fotocinema is the property of Revista Fotocinema 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 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.)

The article discusses on Jacob Riis's life and work, emphasizing its significance in shaping the critical history of American documentary photography. Its analysis of Riis's representation of the working class and the impact on documentary photography's social form is crucial. Topics include the influence on late-twentieth-century reinvention, challenges to conventional narratives, and the politics of inclusion in photography history.

The article observes the war-focused social documentary use while calling for global change. It considers a form of documentary photography within the idea to draw the wide public's attention to vital ongoing war-caused social problems and issues. We also characterize social documentary as a critical genre of photography, dedicated to reflection of the life of different people, underprivileged or disadvantaged as a result of the war. The terms "war", and "war of aggression" are concretized. It is also stated, that while conversations, political speeches, press reports or publications, the word "war" may be used to express any serious struggle, strife or campaign. Thus, references are frequently made to "war on corruption", "war against drug dillers", "war of worlds" or "war of genders": the metaphor of war usually serves to convey the stressfullness of the situation, and such a metaphor must not be taken literally. Also, the difference between Social Documentary and Photojournalism is characterized: photos are usually taken for the future reference, whereas photojournalism images are predominantly meant for the short-term public involvement. Social Documentary images definitely may be stored for the long-term study, enabling better understanding of the modern world we live in, making sense of our living, discovering the way other people live. Article characterizes the main thematic motives of social documentary, such as: child labor, child neglect, homelessness, poverty, impoverished children and the elderly, and hazardous working conditions, and outlines the peculiarities of their interpretation in the context of war. Social documentary is to preserve the most important events or parts of the history - some details or archival footage that would rather be buried. This gives not only a better understanding of current events, but also a prospective of what we might face in the future. Social documentary can be an effective tool to influence our preconceptions, and develop empathy towards human beings or any creature suffering. By bringing personal stories to light, documentaries can aim much-needed wider audience's awareness on to war-caused social problems, and facilitate the search for solution. The article also deals with the difference between Social Documentary and Pictorial Manipulation, which are often used to shape public opinion within global digitalized informational space. [ABSTRACT FROM AUTHOR]

Copyright of Aura. Revista de Historia y Teoría del Arte is the property of Aura Revista de Historia y Teoria del Arte 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 Journal of Academic Social Resources is the property of Journal of Academic Social Resources 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.)