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This article examines two first-hand encounters with the foetus to reflect on the familial, photographic and political dimensions of 3D and 4D foetal portraits. It examines the photographic status of foetal portraits as intimates of the family album while acknowledging their public meaning in reproductive politics. The article aims to situate 3D and 4D foetal portraits within photographic history, theory and practice by examining how these camera-less images align with photographic vision. [ABSTRACT FROM AUTHOR]

This paper introduces the notion of 'Photogaffe' in the context of an applied visual anthropology. Focus is placed on examples of ordinary people causing unforeseen social problems with their cameras and/or pictures as part of family photography and related home media. Paper suggests changing an attention from seeking meaning in picture content to meanings in the social acts responsible for the communication process. The vehicle is a collection of examples documented in a series of letters written to 'Dear Eastman,' a newspaper advice columnist. Several letters and responses are presented and recommended for instruction in a college course on basic theoretical points of the visual social sciences in general and visual culture and communication in particular. [ABSTRACT FROM AUTHOR]

This article explores the legibility of photos taken by Jewish victims of Nazi persecution. Many museums have collected private photos from survivors, and use them to illustrate Holocaust testimony. But photos and testimonies are not always neatly aligned; private photos can also confound audience expectations. We focus on four case studies, comprising photos taken in Poland, Germany, and the UK, and interviewed survivors about their significance. Testimonies and personal photos, we conclude, reveal different but complementary aspects of Jewish experiences during the Holocaust, and, if read together, can enrich the way in which modern audiences engage with this difficult history. [ABSTRACT FROM AUTHOR]

The photographs present much more than what can be seen, they are certainly fascinating and they will circulate many times to transmit great events. However, the history of photography was not only produced by public records and widely distributed, but also by portraits of families and private life. In this sense, using photographic sources found in the album of my family, within a context of colonies of Italian descent in the decades of the 40s and 50s of the 20th century in the interior of the municipality of Criciúma - SC, this work seeks to understand the behavior of a group and how it is reflected in family photos. [ABSTRACT FROM AUTHOR]

This article uses personal family photographs to explore a framework of speculative looking. I begin by considering the category of Asian/American woman not as a knowable entity but as an analytic. I then consider family photographs and alternate modes of speculation to further consider Asian/American gendered subject formation. Using photography, I autoethnographically close read images while thinking about the many afterlives of the Korean War in relation to gendered migration, assimilation, and family formation. I argue for a speculative looking that creates new bonds and possibilities for care by insisting on alternate temporal knowledges across time, allowing visibility to become a site of contestation and possibility. Photography has historically functioned to discipline Asian bodies into racialized and gendered subjectivities to monitor citizenship. The ephemerality of family photographs offers a way to think about the nonlinearity of memory and the everyday presence of violence alongside enduring forms of care. [ABSTRACT FROM AUTHOR]

Vietnamese diasporic artists who came to the U.S. post 1975 actively engage with the silences, losses, and distortions that fracture and fragment their families' histories, memories, and images. My analysis argues that the photographic installation "The opposite of looking is not invisibility. The opposite of yellow is not gold" by Hương Ngô and Hồng-Ân Trương participates in this project of imaginative remembrance and reconstruction. I theorize how the installation produces a queer optics that unsettles our reliance on prescribed understandings of Vietnamese female refugees as compliant participants in the myth of the model Asian minority. This queer optics uses three techniques to literally and ideologically reframe Vietnamese diasporic female agency: deconstruction of family albums, juxtaposition of photos and text, and creation of a queer of color gaze of intimacy. This optics produces a countervisuality of affective knowledges about relationality and futurity, displacing normalized practices of looking with new interpretative possibilities. [ABSTRACT FROM AUTHOR]

The article analyses family history and memory in the post-WWII period, as reflected in photo albums compiled by women living in what had become the Soviet-occupied country of Latvia. The content analysis method is used to examine twenty photo albums. The results indicate that such albums served as an autobiographical instrument for women in the private sphere of everyday life. The principal thematic categories of photographs in the albums were everyday scenes, portraits of individuals, photos of infants and children, pictures of family rituals, portraits of young men performing their obligatory military service in the Soviet armed forces, group photos of families, and groups photos of festive family events. Generally, the women compilers of the albums sought to place photographs in chronological sequence, but interruptions of a sequence are visible by the inclusion of photographs from the pre-Soviet decades. Most of the albums are incomplete and contain many unmounted photos, which testifies to autobiographical instability and the need for editing to make albums conform to the ideological demands of the Soviet decades. Interpretation of the albums from the post-memory viewpoint suggests the necessity for contextual historical information, since their female compilers were evidently creating their own mythology about these post-war decades. The albums portray a society with strong family values, orderly networks of family relationships, mutual trust, prosperity, and 'the good life' – all of which stood in sharp contrast with the everyday realities of Soviet-era existence. [ABSTRACT FROM AUTHOR]

Respectability has been a significant feature of status in the Cape, shaped by racial dynamics that have their foundation in slavery and colonialism and later formalised in apartheid legislation. The issue of representation is central to the paper and draws on the work of Stuart Hall who suggests that the concept of representation plays a more active and creative role in how we think about the world and our place in it. Drawing on oral history and personal family photographs taken during apartheid, I postulate that, through acts of performance such as dressing up and sitting for photographs, people who were classified coloured, attempted to take control of the way they were represented. In so doing, they actively resisted their dehumanisation and racial subjugation. In this regard I argue that the photographs defy and resist the memories that we have of apartheid and testify to a will to freedom and humanity. [ABSTRACT FROM AUTHOR]

We store boxes and albums of family photographs including those handed down from generations, whether good or bad. This paper considers the narrative of the plethora of photographs made by my family over the years. I spent three years printing enlargements of my family’s photographic negatives from the 1930s through the 1960s. Multiple generations of my family wrote stories on the printed photographs. Of significance is how my family’s writing synthesised the importance of the photographed moment as well as hinting to connections among all of the images and stories. I argue that without the photo elicitation to create a path for tellability by the ‘folk’ many family storying would be ventriloquism (the telling of stories) that would not provide the respect for generations to share through combining image and text to their own story. The family tradition of sharing stories and looking at photographs together is a common process since the nineteenth century. [ABSTRACT FROM AUTHOR]

Copyright of Culture & Communication / Kültür ve İletişim is the property of Imge Publishing House 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.)

Drawing on the sensory, self-shifting approach of Lorna Goodison's 1986 poem 'I am becoming my mother', and on quantum theory for brief insights into entanglement, this article gazes into the still visualities of family photographs of my own Birmingham childhood (my mother died that same year) to push towards a more entangled conception of (post)diaspora. I use this highly personal entanglement to take issue with three troublingly disentangled ways in which postdiaspora has been imagined in recent academic literature: as the culmination of a teleological movement from migrant to diaspora to post-diaspora; as the slowly weakening pull of diasporic responsibilities and remittances; and as a means to archaise and de-link from ties to a forgetful and irresponsible diaspora. Ultimately, the article pushes towards a more deeply materially and personally entangled version of (post)diaspora. [ABSTRACT FROM AUTHOR]

Family albums are filled with photographs celebrating the happy times. These represent the high points in life, such as birthdays, holidays, and weddings as well as ordinary moments of domestic life. But what of more difficult images? Rarely included in the family album are photographs of funerals, deaths, and expressions of grief. Consequently, the focus of this article is a private collection of difficult photographs, hidden from view and left out of the family archive; the images unmistakably depict a family deep in mourning. Taken in 1975 at a funeral and burial, the family is pictured grieving their loss in an unusually public way. These images offer a rare opportunity to examine the representation of intimate and difficult emotions in private photographs, while asking questions about the function of the family archive. Using Jacques Derrida's reflections on death, mourning, and the archive, as well as Roland Barthes' observations in Camera Lucida, I have argued for difficult images to be included and shared in the family album. Here I maintain that difficult images depicting difficult emotions offer an opportunity to enhance photography's storytelling capacity in the inter-generational experience of family. This examination is further contextualized alongside photography's longstanding connection to death. [ABSTRACT FROM AUTHOR]

O artigo reflete sobre as fotografias de família como objetos da cultura visual, inscrevendo-se nas pesquisas de história. Centra-se a análise em dois estudos de caso, em que se consideram as fotografias, produzidas no contexto dos séculos XIX e XX, como agentes de relações sociais, vinculadas aos afetos e ao status. The article reflects about family photographs as objects of visual culture, adopts the approach of the researches on history. The analysis is centered on two case studies, in which photographs produced in context during the 19th and 20th century, are considered as agents of social rela-tionship, linked to the affections and status. El artículo reflexiona sobre las fotografías de familia como objetos de la cultura visual, inscribi-éndose en los estudios de historia. El análisis centrase en dos estudios de caso, en los cuales las fotografías, producidas en contexto de los siglos XIX e XX, son consideradas agentes de relacio-nes sociales, vinculadas a los afectos y al estatus.

This article expands knowledge about photography's participation in pro-democratic socio-political processes in the years leading to the demise of the communist Polish People's Republic and during the creation of the post-communist Third Republic of Poland. Taking particular interest in uses of non-artistic photographs in the country's public cultural institutions of the late communist and early post-communist periods alike, we first introduce the work of historian and curator Aleksandra Garlicka and we then analyze five exhibitions that she organized between 1985 and 1995. In all of these, Garlicka employed archival photographs to access histories of Polish society that the communist state had striven to repress. Yet she also called on members of the public to share with her their family photographs in order to deepen the scope of her endeavor. Drawing on archival sources, interviews, and historical Polish literature, we demonstrate how Garlicka deployed these photographs to promote political change in one of Poland's most turbulent historical moments of the twentieth century. Also considering the reception and impact of her curated shows, we argue that, in Garlicka's hands, the display of photographs in Poland's dominant exhibition spaces challenged communist ideology and helped the Poles to come to terms with its legacies. [ABSTRACT FROM AUTHOR]

There are still to this day a large number of gaps in post-war Memel history in the Lithuanian SSR due to the fact that the subject was neglected prior to 1989 for ideological reasons. Until then, the history of German minorities had remained taboo along with accounts of the mass emigration out of the USSR. As part of a survey and collection project, the Institute of Baltic History and Archaeology in Klaipėda collated private image sources that contain material relating to cultural and social spheres within the investigation period, with the aim of closing and discussing historiographical gaps. The photographs document private strategies that existed beneath the level of large-scale political decision-making. They provide insights into recreational past times, religious customs, private environments as well as relationships between genders and generations. A further theme highlighted by the collection is the mass emigration movement that took place from 1958 to 1960. In the second section of the text, specific images are introduced and discussed. The aim of including these concrete examples is to demonstrate the extent to which private photographs may qualify as objective factual sources in developing our understanding of everyday social history. [ABSTRACT FROM AUTHOR]

To accurately document the accelerated changes in biodiversity, scientists need an accurate historic baseline to which to compare the current state of a locale. These historic baselines are hard to come by, and specifically in the coastal principality of Asturias (northern Spain), biodiversity information before 1980 is scarce, fragmented, or entirely lacking. However, most families still keep old photographs, and we wondered if these historic documentations of the environment could provide missing baseline biodiversity data. We conducted a case study asking volunteers to find old family photographs, then return to the same place to retake the photograph from the same perspective. We compiled these photographs and analyzed the changes in biodiversity indices between the past and present. Thus, we quantified diversity changes in the region over the last century. [ABSTRACT FROM PUBLISHER]

Domestic photography and the family photograph album hold significance as artefacts "communicating an ideal familial image and reifying the familial bonds, and also preserving a memory of a specific time" (Sarvas and Frohlich, 2011, p. 148). However, today's practice of domestic photography is generally relocated to social media (Sarvas and Frohlich, 2011). Photographs previously found in the family photograph album are now likely to be located on the screens of phones and tablets. Using a Domestication of Technology framework, this article discusses how families are using Facebook to create, curate, share and archive family memories. It shows how families go through the phases of appropriation, incorporation, objectification and conversion when they adopt Facebook as the family photograph album. The authors also explore ways in which virtual family photograph albums can result in parental tension around domestic tasks of sharing and archiving family memories online, along with the possible implications of creating a potentially embarrassing, unauthorized digital footprint for their children. [ABSTRACT FROM AUTHOR]

Copyright of Fe Journal: Feminist Critique / Fe Dergi: Feminist Elestiri is the property of Ankara University, Women's Studies Center (KASAUM) 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.)

Through 30 semistructured interviews of members of 15 couples in the U.S. Pacific Northwest, we analyze how gender, age, and emotional labor play out in the social acts of taking, organizing, and sharing family photographs. We find that the expectation for women to initiate the taking of family photos remains, even if the performance of the task is sometimes done by young fathers. The emotional burden of worrying how to organize an overwhelming number of photographs falls more commonly on women’s shoulders. Mothers and young fathers are more likely than older fathers to make a strong effort to view digital photographs with their children on the computer. But, when the sharing process extends beyond the immediate family to maintain kinship ties, women are more likely to take on the primary responsibility for the actions surrounding the photographs, which is consistent with tenets of intensive mothering. [ABSTRACT FROM AUTHOR]

This is an abstract of the paper I gave on 13 September 2013, the day on which the Elisabeth Eybers bursary was awarded to me. This award gives me the opportunity to conduct a comparative and transnational study on the representations of interraciality in South African and Dutch-Indies narratives written between 1900 and 1950. The concept of "interracial representation" encompasses images of "mixed race" as well as of meetings and contacts, including intimate and domestic relationships between characters of different racial backgrounds. The aim is to show a part of the similarities and cultural interactions and affiliations between the Netherlands and South Africa. Earlier, I have investigated the representations of "Indo's" and "mixed race" in (post)colonial Dutch films and literature, that is to say, the narratives written about the former Dutch East Indies (nowadays the Republic of Indonesia) both in the colonial and postcolonial era. This research as well as my introductory readings of Afrikaans literature have convinced me, in accordance with V.A. February's remarks in Mind your Colour (1981), that there is a fascinating relation between Afrikaans and Dutch literature in terms of representations of "coloured" and "Indo" people: ... it would be interesting to see to what extent the image of the Indo, that is, the Dutch Indonesian half-breed, shows any comparison with that of the 'Cape coloured' in South Africa [...] In fact, reading through novels dealing with the Indo, at times one is forcibly reminded of the South African literary scene, and left with just a sneaking suspicion that the inhabitants at the Cape and the Afrikaner in particular, may have unconsciously inherited a Dutch literary tradition via the East Indies. (February 1981:55) In my comparative study I focus on the first half of the twentieth century when ideas on "racial purity" and "racial mixture" changed drastically and became much more harsh than before, both in South Africa and the Dutch East Indies. Authors of fiction in those years modelled their work according to European examples of literature, particularly to styles of naturalism and realism, as well as British class novels in which the complexity of colonial power, desires and intimacies come to the fore. In order to counter the stereotypes in literary accounts which were mostly written by white authors I also plan to analyse family photographs, taken by "coloured" and "Indo" people themselves to take into account the performance of (desired) identities and self images. [ABSTRACT FROM AUTHOR]

This article reflects on a university human research ethics committee's unease regarding a feminist visual pilot study within the field of education. The small exploratory study proposed to explore a migrant mother's production of her son's identity through her family photograph collection. The committee requested substantial changes to the research design which centred primarily on their concerns regarding risk of harm to pre-existing relationships, and also issues of anonymity and consent. I consider the combined liberal individualist, utilitarian and positivist biomedical basis for the ethics committee's discomfort with the proposed research which was to involve members of my family. I draw on my experience of the review process to critique the human research ethics committee paradigm which constructs the ideal researcher as an objective and disinterested observer, hinges on a weighing of risks and benefits, and considers humans to be independent and equal. I demonstrate how the blanket application of these values acts to problematise some kinds of research, and how these values can be inappropriate, incompatible and even destructive when applied to research proposals that are exploratory, visual, and/or involve the researcher's family members as participants. [ABSTRACT FROM AUTHOR]

This article proposes, from the perspective of photographic reception, a parallel reading of two fundamental texts on photography, Roland Barthes' Camera Lucida and Walter Benjamin's Little History of Photography, pointing out the importance of the gaze in the narrative construction of an (imaginary) encounter between the viewer and the "subject" of the image. Our analysis focuses on the visual vocabulary employed by both authors in the construction of their narratives, which is not without resemblance with the traditional hierophanic scenarios such as the Transfiguration or the Resurrection. The supposed "reality" of the referent -- which is thought as the core of analogue (vernacular) photography -- breaks the unreality of the image, surpassing representation with its perceived presence, whose visual expression is (excessive) light. Thus, the discourse on photography paradoxically becomes a discourse without image(s), the sacralization of the latter being at stake. [ABSTRACT FROM AUTHOR]

As part of the domestic ritual, the cult of the family photograph album perpetuates those family events and the people involved in them that “deserve” to be preserved and passed on. However, with the exponential increase in the production of family photographs, thanks to digitalization and to the computerized reprocessing of old family photographic archives, one has to wonder whether we are not altering the way in which this family memory is being constructed. Digitalization appears to be opening up vistas of an ongoing, rather than episodic photographic life and an all-inclusive memory, something quite at odds with the actual process of memorization, which involves selective storing and discarding of events. Is there not a danger that an excess of family memory, a dream of “photographing everything,” a fantasy in which we “keep everything,” a passion for “saving everything” may well lead to an over-saturated memory?

This article interrogates how parents manage public–private practices of father–child intimacy and how the dis/embodied male impacts on the display of nudity in families. Drawing on empirical research, it examines some of the tensions which crystallise around intimate fatherhood and the meanings and practices of family photography. Focusing on the visual and how this can shed light on different dimensions of everyday experience, it explores how parents set boundaries around notions of decency and adjudge appropriate behaviour, with particular attention to the (in)significance of children’s age and the impact of class and social context. Notwithstanding cultural changes which prize intimate fatherhood, the management of masculinity and the paternal body remain a source of anxiety. This article interrogates how gender and ideas of ‘risk management’ are shaping embodied interactions between fathers and children and thus what children are learning about men, masculinity and intimacy. [ABSTRACT FROM PUBLISHER]

The focus of this chapter is on the framing, the reframing, and the social biography of the IWI (Indisch Wetenschappelijk Instituut) photographs. This is a postcolonial collection of family snapshots and professional photographs taken in colonial Indonesia and, after 1945, brought to the Netherlands. From the 1950s the photographs were shared, disseminated, and brought together in a collection by Indo-Dutch immigrants, and were donated to the Amsterdam Tropenmuseum after being digitized in 2008. This chapter shows that the IWI family photographs can be perceived as "active players" in the emergence of both a national nostalgia (tempo doeloe) and a brani (daring) memory community in which the Indo-Dutch have engaged to make sense of their lives. Framed by the Tropenmuseum's "regular" photographic collections, the IWI photographs have also come to balance and challenge the more official and institutionalized photographs of the Dutch colonial project in the Netherlands East Indies. [ABSTRACT FROM AUTHOR]

This article examines the representation of tea drinking in photographs and the commemoration of this pastime in European and Javanese family photograph albums, in the Netherlands Indies (colonial Indonesia) during the early twentieth century. As ego documents (autobiographical sources), family photographs of tea-time reveal how the expression of social categories like race, class and gender were choreographed in the home by colonial family members for their own viewing. As sources for social history, such photographs reflect not just on markers of social differentiation, but also on familial cohesion and, importantly, on an emerging class solidarity between Javanese and Europeans that transcended racial distinctions. Worldliness, domesticity and a peculiar mode of civility that would in the European context have been considered middle class, but in the Indies were considered elite, were the normative cultural standards by which the photogenicity of the colonial family was measured in photographs of tea drinking. Tea cups and cameras were thus wielded by amateur family photographers to reproduce both the hierarchy and unity that simultaneously divided and connected sectors of elite colonial society in the early twentieth century. [ABSTRACT FROM AUTHOR]

We can often notice that the discourse concerning photography -- both in theoretic discourse and in common language -- frequently tends to explain the characteristics, mechanisms, and the manner of existence of photography by transfers of terms, metaphors and imaginary constructions. Starting from this observation, the present study aims at analyzing the metaphoric language use related to photography through images such as that of the imprint, the trace, and the notion of index. The analysis emphasizes the similarities between these notions and the metaphors of memory used in the modern scientific terminology: engram, pattern and memory trace. Preserving the analogy between memory and photography, we can observe in the case of the latter, as well, the disjunction between a public memory (semantic memory) and an autobiographical memory (episodical memory). Family photography, which is the most prevalent practice in the field of photography, falls under the category of the second memory type. In the second part of the study we propose an original "reading" of the family album -- an artistic/pictorial interpretation of the metaphors of photography and memory. [ABSTRACT FROM AUTHOR]

Like many parents in the US, teen mothers regularly have professional portraits taken of their children. This article, based on an ethnographic study of a diverse group of teen mothers in urban California, analyzes these baby pictures as representations of childhood, motherhood and family, and as material objects used in the construction of kin networks. Through these portraits teen mothers construct themselves as good mothers, resisting public denunciations of their childbearing at the same time that they embrace consumer culture. Small photos are exchanged with their friends and family members, contributing to a culture of care, albeit one based on market principles. [ABSTRACT FROM AUTHOR]

This paper elaborates the argument that domestic space should be considered as the product of relations that extend beyond the home. It examines one common domestic object – family photographs – and explores how the particularity of this photography and the specificity of its display by white middle-class mothers with young children in South-east England produce just such an extended domestic space. The stretched space co-produced by these mothers and photographs is also a form of stretched time, and it is integrative in complex ways; it contains different kinds of absences which disturb but do not break its cohesion. The paper also discusses why the display of family photographs is done almost exclusively by women. [ABSTRACT FROM AUTHOR]

This study aims to elucidate cognitive and contextual aspects of the EE (Expressed Emotion) concept. The EE levels of both parents of two first admission psychotic patients were rated from the Five Minute Speech Sample (FMSS), and the emotional responses were further analyzed in narratives of family photographs. The attribution model was found to provide an explanatory framework for understanding relatives' expressed emotions (EE) toward a family member suffering from psychotic disturbances. Four case reports indicated that family photographs induced parents to create narratives in which emotions, attributions, and strategies for coping with stressful aspects of the illness came forward as intertwined phenomena. The method can offer more comprehensive data for intervention strategies aiming to alter the prevailing atmosphere and interaction patterns within the high EE family. [ABSTRACT FROM AUTHOR]