Including work by leading scholars, artists, scientists and practitioners in the field of visual culture, The Routledge Companion to Photography, Representation and Social Justice is a seminal reference source for the new roles and contexts of photography in the twenty-first century.
Bringing together a diverse set of contributions from across the globe, the volume explores current debates surrounding post-colonial thinking, empowerment, identity, contemporary modes of self-representation, diversity in the arts, the automated creation and use of imagery in science and industry, vernacular imagery and social media platforms and visual mechanisms for control and manipulation in the age of surveillance capitalism and deep fakes, as well as the role of imagery in times of crisis, such as pandemics, wars and climate change. The analysis of these complex themes will be anchored in existing theoretical frameworks but also include new ways of thinking about social justice and representation and how to cope with our daily image tsunami. Individual chapters bring together a diverse set of contributions, featuring essays, interviews, conversations and case studies by artists, scientists, curators, scholars, medical doctors, astrophysicists and social activists, who all share a strong interest in how lens-based media have shaped our world in recent years.
Expanding on contemporary debates within the field, the Companion is essential reading for photographers, scholars and students alike.
Including work by leading scholars, artists, scientists and practitioners in the field of visual culture, The Routledge Companion to Photography, Representation and Social Justice is a seminal reference source for the new roles and contexts of photography in the 21st century.
0.1 Introduction
1. Representation, Identity and Inclusion 1.0
Chapter
Introduction 1.1 Representation and Responsibility: Institutions as
Changemakers 1.2 Between Camera and Canvas: Man Ray, Picasso, and the
Representation of Adrienne Fidelin 1.3 An Archive in a Suitcase. And the
Question What to Do With It 1.4 The Representation of the Inuit Population in
Greenland, Then and Now 1.5 Representations and Stereotypes of Greenland,
Revisited 1.6 Photography in Contemporary Jewelry Art 1.7 Repetitive
Representations. The Case of Private Photographs
2. Diversity, Empowerment
and Social Justice 2.0
Chapter Introduction 2.1 The Railway and its Images:
Decolonizing Landscapes through the Works of Chinese Visual Artists 2.2
Through Faafafabulous Glasses: An Interview with Yuki Kihara 2.3
Participatory Photography: Gaze, Representation and Agency 2.4 Canterbury,
Revisited: Reflections on a Collaborative Photography Course for Sighted and
Visually Impaired Participants 2.5 Social Practice and Photography: Who is
Looking at Whom? 2.6 The Breath of Memory 2.7 The Role of the Andean People
in the Work of Martin Chambi, Revisited
3. Crisis and Change 3.0
Chapter
Introduction 3.1 Feminism and Photography: A Situated Exploration of the
Visual Archive of Feminisms in Chile 3.2 Freedom Is Not Free 3.3 Selling the
Great White Myth. A Reflection on the South African Media and Communications
Industry From the Life Experience of a Brown Bodied Woman 3.4 Working with
Archives Past, Present, Future 3.5 Visual Proof: How Glacier Photography
Shows Us the Reality of Climate Change 3.6 When Will They Listen? 3.7 Art and
Activism Revisited
4. Automated and Networked Images 4.0
Chapter Introduction
4.1 Leaks, Growths and Caveats: The Black Hole Image 4.2 Visualisation as a
Political Act 4.3 How to Photograph a Virus 4.4 Video Games Inside the Body:
Medical Robots and the Future of Tele Surgery 4.5 Orientation and Resistance
in a Fog of Systems 4.6 Machine Learning for Aquatic Plastic Litter Detection
Turned Into Art 4.7 Is this Still Photography? Online Experiences, NFTs and
Digital Vernacular
5. Censorship, Image Control and Manipulation 5.0
Chapter
Introduction 5.1 Who, How, and Where? Speaking, Writing, Making Art, and
Publishing in a Censorial World 5.2 Tonald Drump, Censorship and
Deplatforming 5.3 Interviews With Anonymous Internet Content Moderators 5.4
Selfies, Biometrics, Geolocation and the 2021 Capitol Hill Riot: How
Photography is Used in the Service of Surveillance 5.5 The Real, the Unreal,
and the Authentic 5.6 Image Archives in the Age of Surveillance Capitalism
6.
New Ways of Seeing 6.0
Chapter Introduction 6.1 Exiting the Photographic
Universe 6.2 Diversifying the Tools of Storytelling: From Photography and
Video to Virtual Reality 6.3 Lubumbashi to Paulshoek: Iterations of the Local
in Six African Photobook Projects 6.4 Remix: Printed Matter From the
Caribbean 6.5 Opening the Gates for Eastern Concepts and Terminology for
Photography Theory 6.6 Translation and Use of Western Photography Theory in
Asia 6.7 Deconstructing Red, Yellow, Black and White
Moritz Neumüller is a curator, educator and writer in the field of photography and new media. He has worked for institutions such as MoMA New York and PhotoIreland Festival in Dublin and co-founded Photobook Week Aarhus (Denmark) in 2014. Since 2010, he has run The Curator Ship, an online resource for visual artists. Apart from his curatorial practice, Neumüller has been working for more than ten years at the forefront of making culture accessible for everybody, including disabled people. In 2009, he founded the project ArteConTacto and in 2011 the initiative MuseumForAll, with the mission to make museums open to all audiences.
Biežāk uzdotie jautājumi par e-grāmatām