PL EN


2011 | 2 | 15-26
Article title

Foto-teksty? W poszukiwaniu narzędzia analizy współczesnej artystycznej fotografi i dokumentalnej

Content
Title variants
EN
Photo-texts? Searching for a tool of analysis of contemporary documentary photography
Languages of publication
PL
Abstracts
EN
A term "photo-text" emphasizes a contemporary change in visual culture researches, where photography is a link between a photographed object and its cultural meaning. In a book titled “Phototextuality” Andrea Noble and Alex Hughes stated that phototextuality plays “between the culturally fabricated nature of photographic artifact and its fundamental indexality, that is, its status as a trace of the real; and evidential manifestation of what has been”. Photo-texts characterised by critical, self-reflective and intertextual attitude towards culture go together with contemporary interests with narration, memory and history. The text is divided into few parts. I consider a status of phototextuality in the first one and present basic researches on textuality of photography in the second. I compare Roland Barthes’s analysis to a John Berger’s and Jean Mohr’s project there. Part three is dedicated to visual studies, where phototextuality is a field of discussion with models of art and popular culture (on an example of Gregor Brandler work). Finally, in the fourth part a critical attitude of photo-texts towards history is presented. In conclusion, photo-texts are regarded as an effective tool of contemporary culture analysis, both on the level of its production and on “reading” level. This reading is not a “free” or “mis” –reading, that tears the meanings off the objects of reference, but rather which “anchorages” those meanings in represented object.
Contributors
  • Uniwersytet im. Adama Mickiewicza w Poznaniu
References
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  • Bal M. (2001), Louise Bourgeois’ Spider. The Architecture of Art-writing, Chicago and London.
  • Bal M. (2003), Visual essentialism and the object of visual culture, “Journal of Visual Culture”, Vol. 2(1).
  • Barthes R. (1971), Trzeci sens. Poszukiwania na podstawie kilku fotogramów z filmów S.N. Eisensteina, przeł. R. Wyborski, „Kino” nr 1, s. 37–41.
  • Berger J., Mohr J. (1995), Another Way of Telling, New York.
  • Domańska E. (2006), Historie niekonwencjonalne, Poznań.
  • Fried M. (2008), Why photography matters as art as never before?, New Haven and London.
  • Fryer Davidov J. (2003), Narratives of Place: History and Memory and the Evidential Force of Photography in Work by Meridel Rubinstein and Joan Myers, w: Phototextualities: intersection of photography and narrative, ed. A. Hughes, A. Noble. Albuquerque.
  • Hughes A., Noble A. (2003), Introduction, w: Phototextualities: intersection of photography and narrative, ed. A. Hughes, A. Noble. Albuquerque.
  • Kuhn A. (2002), Family secrets. Acts of Memory and Imagination, London, New York.
  • Owens C. (1994), Beyond recognition: representation, power and culture. Berkeley, Los Angeles, London.
  • Rosner K. (2003), Narracja, tożsamość, czas, Kraków.
  • Scott C. (1999), The spoken image: photography and language, London.
  • Sikora S. (2004), Fotografia. Między dokumentem a symbolem. Izabelin.
Document Type
Publication order reference
Identifiers
YADDA identifier
bwmeta1.element.desklight-2d2381f3-4f82-44a5-91e0-d4f3a003c274
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