Search results

1

Empire of Ruins: American Culture, Photography, and the Spectacle of Destruction by Miles Orvell (A Book Review)

100%

Faisst J.

Review of International American Studies

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2023

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vol. 16

|

issue 1

319-326

EN

Julia Faisst's review of Miles Orvell's Empire of Ruins: American Culture, Photography, and the Spectacle of Destruction

2

(Re)konstrukcja rodzinnej historii. Fotograficzny błąd w funkcji triku

100%

Budzik J. H.

Kwartalnik Filmowy

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2017

|

issue 99 Triki, numery specjalne, atrakcje

92-100

PL

Autorka zastanawia się nad trikowym charakterem dwóch zdjęć, w których nałożenie kadrów jest przypadkowe, a więc nie należą one do kręgu fotografii rekreacyjnej czy spirytystycznej. Interpretacja fotografii z archiwum rodzinnego zostaje wpisana w szerszy kontekst filozofii fotografii, z odwołaniami m.in. do teorii Rolanda Barthes’a, François Soulages’a, Pierre’a Bourdieu i Marianny Michałowskiej. Budzik porusza również wątek relacji między fotografiami a narracją rodzinną, zastanawiając się nad tym, w jaki sposób niezamierzenie trikowe zdjęcia wpływają na konstruowanie fantazmatycznej genealogii (określenie Joanny Bator).

EN

The author considers the trick character of two photographic images that accidentally overlap, and therefore do not belong to the category of recreational or spiritual photography. Interpretation of photographs from the family archive is inscribed in the broader context of the philosophy of photography with references to the theories of Roland Barthes, François Soulages, Pierre Bourdieu and Marianna Michałowska. Budzik also touches on the relation between photographs and family narration, wondering how unintentional imagery influences the construction of a fantasy genealogy (a term coined by Joanna Bator).

3

Seeing Silence by Mark C. Taylor (A Book Review)

100%

Coase H. R.

Review of International American Studies

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2022

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vol. 15

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issue 2

233-240

EN

Howard Robert Coase's critical review of Seeing Silence by Mark C. Taylor.

4

Photogrammetric documentation of archaeological artefacts: The current state of the art and future prospects

100%

Wiśniewski M., Zeman-Wiśniewska K.

Raport

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2019

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vol. 14

167-176

EN

Photogrammetry has been a part of the curriculum of archaeologists since the early days of photography. This method of obtaining reliable information from non-contact imaging for the purpose of recording, measuring, analyzing and representation of archaeological artefacts is, due to recent advances in imaging techniques and computer technology, going through a renaissance. The history of the method in general terms is discussed in this paper. The authors present new perspectives on current areas of research, including workflows, the use of different hardware and software, and “guerrilla photogrammetry”. Furthermore, the authors propose future directions for the development of the field, like using Smartphones, immersive images, truly virtual museums, and public engagement.

5

Starring: Photos. On Polish iconographic films made from photos

100%

Jazdon M.

Kwartalnik Filmowy

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2013

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issue Special Issue - Polish Film Scholars on Polish Cinema

140-158

EN

Short iconographic films made from photos constitute a separate trend of the Polish school of documentary. It has been expanding with new titles over several dozen years. "Fleischer's Album" (1962) by Janusz Majewski and "A Working Day of Gestapo Man Schmidt" (1963) have taught Polish documentary filmmakers how to explore the possibilities of this form of film art. The two documentaries played a pivotal role in paving the way for a whole series of films based on pictures taken by the German troops and officials from World War 2, which presented the private look of the Nazis on the war and its victims. The subject matter of films made from pictures was gradually broadening. These films told the story of the Holocaust and of lack of the victims' look on the Holocaust, embalmed in photography. Films on the Polish resistance movement were also made, with particular emphasis on the Warsaw Uprising. The turn of the 19 th and 20 th century became the subject of documentaries at the turn of the 1970s and 1980s. Pictures used in almost all of Kazimierz Karabasz's films are regarded as a medium enriching the documentary with a new reality dimension that cannot be captured by the camera. His films, "Summer in Żabno" (1977) and "Portrait in a Drop of Water" (1997), show that films made from photos are perfectly suitable for depicting the present day.

6

Explorations on the Event of Photography: Dasein, Dwelling, and Skillful Coping in a Cuban Context

88%

Battin J. M.

Review of International American Studies

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2022

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vol. 15

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issue 2

49-70

EN

In the summer of 2016, the author traveled to Havana to begin preliminary work on an interdisciplinary visual ethnography project. While venturing primarily on foot, he took hundreds of high-resolution photographs and interviewed people at random across several localities about their daily routine, their neighborhood, and their expectations about what was to come following the [then] normalizing of relations with the United States. Of the utmost importance to this work was the special attention granted to the inhabited locale where each photograph and interview took place. This article explores these photographs through the lens of the “event of photography,” a term emphasizing the temporal moment when a photographer, photographed subject, and camera encounter one another. With this interpretation, photographs are positioned as historical documents and the practice of photography as a civil and political matter, thus inviting new possibilities to read political life through its visual dimension, as well as to trace different forms of power relations made evident during the ‘event.’ This paper uses phenomenological reflection to explore the meshwork manifestation of these power relations, and articulate how they provide insights about one’s place and responsibility within that ‘event’ in a range of relational contexts.

7

Fotoplastikon di Jacek Dehnel come macchina multimediale

88%

Mafrica L.

pl.it / rassegna italiana di argomenti polacchi

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2018

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issue 9

84-103

EN

In this article, I will analyse Fotoplastikon (2009) by Jacek Dehnel, a collection of a hundred old photographs accompanied by the same amount of poetic proses. The working principle of the book follows that of stereoscopy and bases itself upon the illusion of depth originating from the parallel reading of the images and texts placed next to them. The work, which resembles an old photo album, becomes a multimedia tool capable of creating a third dimension in spite of its flat surface. The result is a dialectic game the reader is asked to take part in starting from the subjective experience of the author. This article aims to describe the different strategies by which Dehnel, starting from Barthes’ concept of punctum, leads the reader to formulate his/her own interpretation, which is often distant from the monoreferentiality of the image. Moreover, I took into consideration the idea of supplying the article with some excerpts of the work translated into Italian.

8

COVID-19 and Instagram: An Analysis of an Ibero-American Infodemic

88%

Renó D. P., Martinez-Rolan X., Piñeiro-Otero T., Versuti A.

Studia Humanistyczne AGH

|

2022

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vol. 21

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issue 2

99-115

EN

Understanding the role of communication promoted by Ibero-American society during the Coronavirus pandemic is fundamental for building knowledge about the disease. In this scenario, Instagram occupies a privileged place, as it carries a diversity of possible languages. Furthermore, Instagram’s relevance in the social media landscape is growing. This article presents, from a study developed through big data analysis procedures, the first result of several that make up an international investigation on the subject. In the project stage, the quantitative volume of publications, the average publication per user and the participation of the different languages used in this analysis group were verified. It is hoped that further investigations can be developed based on the results presented here, especially due to the urgency of knowing the role of communication in the pandemic scenario in which we live.

9

Recuerdos, emoción, representación. Formas de la memoria de la represión en la España actual

76%

Piedras Monroy P.

Studia Romanica Posnaniensia

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2017

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vol. 44

|

issue 1

63-73

EN

History has got the monopoly of legitimate representation of the past, above all due to its privileged academic position. Its accounts operate as true and valid and often label all the rest as fiction. There are nevertheless some other forms, linked to memory, capable of learning from and narrating through emotions, opening paths of understanding, compromise and intervention in society. Referred to the memory of repression in Spain, we talk in this article about graphic novel, photography and documentary films.

10

Nudity, Sexuality, Photography. Visual Redefinition of the Body

63%

Ferenc T.

Qualitative Sociology Review

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2018

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vol. 14

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issue 2

96-114

EN

The article examines the relations between photography, body, nudity, and sexuality. It presents changing relations of photography with a naked or semi-naked body and different forms and recording conventions. From the mid-19th century the naked body became the subject of scientifically grounded photographic explorations, an allegorical motif referring to painting traditions, an object of interest and excitement for the newly-developed “touristic” perspective. These three main ways in which photographs depicting nudity were being taken at that time shaped three visual modes: artistic-documentary, ethnographic-travelling, and scientific-medical. It has deep cultural consequences, including those in the ways of shaping the notions of the corporeal and the sexual. Collaterally, one more, probably prevalent in numbers, kind of photographical images arose: pornographic. In the middle of the 19th century, the repertoire of pornographic pictures was already very wide, and soon it become one of the photographic pillars of visual imagination of the modern society, appealing to private and professional use of photography, popular culture, advertisement, art. The number of erotic and pornographic pictures rose hand over fist with the development of digital photography. Access to pornographic data is easy, fast, and cheap, thanks to the Internet, as it never was before. Photography has fuelled pornography, laying foundations for a massive and lucrative business, employing a huge group of professional sex workers. How all those processes affected our imagination and real practices, what does the staggering number of erotic photography denote? One possible answer comes from Michel Foucault who suggests that our civilization does not have any ars erotica, but only scientia sexualis. Creating sexual discourse became an obsession of our civilization, and its main pleasure is the pleasure of analysis and a constant production of truth about sex. Maybe today the main pleasure is about watching technically registered images, and perhaps that is why we may consider visual redefinition of the body as the main social effect of the invention of the photography.

11

Fotografia pierwszego stopnia – o niemożliwości powrotu do źródła. Na przykładzie Mercedesa-Benza Pawła Huellego

63%

Osińska O.

Przegląd Humanistyczny

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2019

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vol. 63(4 (467))

63-76

PL

The article compares two memoirs about family’s histories from 2001: In the Garden of Memory by Joanna Olczak-Ronikier and Mercedes-Benz by Paweł Huelle, in which photographs play an important role: In the Garden of Memory by Joanna Olczak-Ronikier and Mercedes-Benz by Paweł Huelle. While in the former, more old-fashioned family’s biography, the function of photos is to prove the trustworthiness (referentiality) of the narrative, in the latter, which is rather an autofictional novel, reading photos becomes a starting point for blurring non-fiction biography with fictional Dichtung. The aim of the study on Mercedes-Benz’study carried out by the author of this article is to outline the concept of the photography in the first degree. That is also why the mise en abyme and the postmemory are contextually recalled.

12

Tagowanie zdjęć portretowych w serwisie Instagram

51%

Kosik N.

Zagadnienia Informacji Naukowej - Studia Informacyjne

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2022

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vol. 60

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issue 1(119)

44-60

PL

Cel/Teza: Celem badania była charakterystyka procesu tagowania zdjęć portretowych w serwisie Instagram. Koncepcja/Metody badań: Wybrano sześć profili zawodowych fotografów, korzystających z Instagrama, dokonano analizy jakościowej 606 hasztagów oraz przedstawiono charakterystykę ich współwystępowania. Przeprowadzono również wywiady z autorami zdjęć. Wyniki i wnioski: Najpopularniejsze hasztagi dotyczą formalnych i technicznych aspektów fotografii. Nawiązują też do warstwy wizualnej. Występują hasztagi afektywne, performatywne, „insta-tagi”, sentencje oraz tzw. fałszywe hasztagi. Inspiracje do tworzenia hasztagów badani czerpią z aplikacji, profilów innych użytkowników lub tworzą je samodzielnie, w celu dotarcia do większego grona odbiorców. Ograniczenia badań: W artykule przeanalizowano stosunkowo niewielką próbę, jednak wydaje się ona wystarczająca do ukazania pewnych trendów. Zagadnienie to wymaga dalszych badań. Oryginalność/Wartość poznawcza: Tagi często są subiektywne, a ich przydział do zasobów zależy m.in od celu twórcy. Dotychczasowe badania pomijały zrozumienie intencji użytkowników. Artykuł ma stanowić podstawy do bardziej szczegółowych analiz. W polskiej literaturze brakuje specjalistycznych opisów w tej dziedzinie.

EN

Purpose/Thesis: The aim of the study was to characterize the process of tagging portrait photos on Instagram. Approach/Methods: Six profiles of professional photographers using Instagram were selected, a qualitative analysis of 606 hashtags was conducted and the characteristics of the tag co-occurrence were presented. Interviews with the photographers were also conducted. Results and conclusions: The most popular hashtags relate to the formal and technical aspects of photography. They also refer to the visuals. There are affective and performativehashtags, “insta-tags”, sentences and the so-called fake hashtags. The respondents draw inspiration for creating hashtags from apps, profiles of other users or create them on their own in order to reach a larger audience. Practical implications: The sample, while small, allowed the author to identify distinct trends. This issue requires further research. Originality/Value: Tags are often subjective, and the creators use them according to their own purposes. Previous research has neglected the intentions of users. The article is to be the basis for more detailed analyzes. The field has not been examined by Polish scholars.

13

The Ambivalence of African-American Culture. The New Negro Art in the interwar period

51%

Pawłowska A.

Art Inquiry. Recherches sur les arts

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2014

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vol. XVI (XXV)

167-193

EN

Reflecting on the issue of marginalization in art, it is difficult not to remember of the controversy which surrounds African-American Art. In the colonial period and during the formation of the American national identity this art was discarded along with the entire African cultural legacy and it has emerged as an important issue only at the dawn of the twentieth century, along with the European fashion for “Black Africa,” complemented by the fascination with jazz in the United States of America. The first time that African-American artists as a group became central to American visual art and literature was during what is now called the Harlem Renaissance of the 1920s and 1930s. Another name for the Harlem Renaissance was the New Negro Movement, adopting the term “New Negro”, coined in 1925 by Alain Leroy Locke. These terms conveyed the belief that African-Americans could now cast off their heritage of servitude and define for themselves what it meant to be an African-American. The Harlem Renaissance saw a veritable explosion of creative activity from the African-Americans in many fields, including art, literature, and philosophy. The leading black artists in the 1920s, 1930s and 1940 were Archibald Motley, Palmer Hayden, Aaron Douglas, Hale Aspacio Woodruff, and James Van Der Zee.

PL

Odnosząc się do kwestii marginalizacji w sztuce trudno nie wspomnieć o kontrowersjach ota-czających sztukę Afroamerykanów. W okresie kolonialnym, a także podczas krystalizacji ame-rykańskiej tożsamości narodowej, sztuka ta została odrzucona wraz z całością afrykańskiego dziedzictwa kulturowego. Uznanie znaczenia tej kultury i sztuki pojawiło się jako istotna kwe-stia dopiero u zarania XX wieku wraz z europejską modą na Czarną Afrykę uzupełnioną o jazzowe fascynacje z USA. Ważnym etapem poprzedzającym powstanie sztuki „Nowych Czarnych” były próby poszukiwania wyrazu dla afroamerykańskiej tożsamości, świadomie ignorujące różnicę w pigmentacji skóry. Były to wyraźne dążenia do znalezienia wspólnego głosu z białym etosem i tradycją amerykańskiej klasy średniej. Po raz pierwszy afroamerykańscy artyści jak grupa stali się dominującym elementem ame-rykańskiej sztuki wizualnej i literatury jako ruch “Renesansu z Harlemu” (Harlem Renaissance) w latach 1920 i 1930. Inną nazwą tego nurtu było określenie “Nowi Murzyni” (New Negro) ukuty w 1925 roku przez Alain Leroy Locke’a. Twórczości Afroamerykanów w tym okresie przeżywa prawdziwą eksplozję talentów w wielu dziedzinach, w tym sztuki, literatury i filo-zofii. Czołowi czarni artyści z lat 1920–1940 to: Archibald Motley, Palmer Hayden, Aaron Douglas, Hale Aspacio Woodruff, James Van Der Zee.

14

Fotografia uwalniająca rzeczywistość. Fotograficzna inwentaryzacja świata

51%

Stępień K.

Folia Bibliologica

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2018

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vol. 60

165-185

PL

Artykuł skupia się na przedstawieniu najważniejszych koncepcji naukowych, społecznych i kulturowych, które podkreślają znaczenie obrazów, zwłaszcza fotografii, w życiu człowieka, oraz ich specyfikę. Przedstawiono znaczenie fotografii jako dokumentu, dzieła sztuki, materiału naukowo-badawczego. Poruszono kwestię siły przekazu dokumentów wizualnych, w tym fotografii, sposób ich organizacji oraz to, że fotografia rejestruje rzeczywistość niezwykle precyzyjnie. Opisano historię fotografii w kontekście rozwoju nowych metod badawczych w nauce. Zaprezentowano ideę fotografii dokumentalnej. Przedstawiono zasady komunikacji fotograficznej, psychologiczne i filozoficzne czynniki skłaniające ludzi do uwieczniania rzeczywistości, w której żyją.

EN

The article focuses on presenting the most important scientific, social and cultural ideas emphasizing the significance of images, especially photographs, in human life, as well as their specificity. The meaning of a photograph as a document, work of art, and scientific research material was presented. The matter of visual document message strength was addressed, including photographs, as well as the manner of organizing them and the fact that photography records reality in an extremely detailed way, the history of photography was described in the context of the development of new research methods in science. The idea of documentary photography was presented, as well as the principles of photographic communication, psychological and philosophic factors making people record the reality they live in.

15

Komunikowanie obrazem. Współczesna prasa katolicka w obliczu przemian technologicznych

45%

Pethe A.

Studia Ekonomiczne

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2017

|

vol. 317

27-41

PL

Nowoczesne narzędzia komunikowania implikują nowe – adekwatne do istoty zaistniałych przemian technologicznych – formy i sposoby wypowiedzi dziennikarskich. Dotyczy to także rynku mediów religijnych, w tym periodyków katolickich. Otóż aby skutecznie realizować zadania prasy katolickiej, trzeba uwzględniać fakt doskonale znany refleksji teologicznej, określany łacińskim zwrotem fides ex visu. Wyrażenie oznacza, że wiara rodzi się również z „patrzenia”. Wobec tego forma podawcza treści religijnych, aby była skuteczna, musi uwzględniać kondycję człowieka homo videns i dlatego musi mieć wzgląd na obraz, a konkretnie na możliwości, jakie oferuje komunikacja ikoniczno-werbalna. W artykule dokonano analizy reprezentatywnych form i funkcji wypowiedzi obrazowo-słownych, niosących przekaz sensów religijnych, które obecne są na łamach dwóch wiodących tygodników katolickich, mianowicie „Gościa Niedzielnego” oraz „Tygodnika Powszechnego”.

EN

In the age of modern communication tools, in order to successfully carryout the tasks of the Catholic press, one must take into account the fact of well-known theological reflection as fides ex visu. The journalistic form of the transmission of religious content must also take into account the coherent conditions of human reception. Theoretical background creates visual theology. The article explores the specific visual expressions of religious expression that have been published in leading Catholic journals such as “Gość Niedzielny” and “Tygodnik Powszechny”. The author wonders how the impact on the recipient and how the media content is presented, and how it is being intensified through verbal-visual or visual-verbal communication.

16

Dvě lekce studia literatury aneb o pomalosti

32%

Málek P.

Slovo a smysl - Word & Sense

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2018

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vol. 15

|

issue 29

13-56

EN

Drawing on the considerations of Karlheinz Stierle, who claims that one of the key tasks in thinking about literature is to oppose the technical totality of modernity and its repressive mechanisms with the substantiality of the slow and the already past, this study aims — in the reading of Franz Kafka, for example, by German thinker, literary theorist and critic Walter Benjamin, and that of Karel Čapek by Czech literary historian and critic Jiří Opelík — to present a form of thinking about literature and its studies that would belong in some ways to the ‘slow reading culture’. At a time when the predominant view of the status of the discipline has grown skeptical, when one has come to doubt the meaning of literature, it is useful to return to the sources and principal questions that comprise our basic attitude towards literature and its study. The question of the current state of thought about literature is reflected here by the prism of slowness and the culture of slow reading, together with a study of literature that opens our way to something we might have otherwise abandoned in the ‘rhythm of constantly renewed acceleration’. The first part of the study, dedicated to Benjamin’s reading of Kafka, focuses on several motifs, grouped around the idea of study and the idea of the image. He develops his interpretation of Kafka’s short stories, The New Advocate, and his reading of the photographic portrait of little Kafka, by reflecting on Benjamin’s tendency to introduce the subject in a circular manner, and through a method of interpretation that gradually approaches, interrupts and postpones, the methodological equivalent to slow reading, revolves around the conviction that the center of the thinking about literature is the understanding of literary works, his open movement, which can never reach a culminating understanding. The second part of the study, devoted to Opelík’s reading of Karel Čapek, deals with the philological footprint and philological impulse in the literary-historical works of Jiří Opelík: at the epicenter of literary research he inserts the poetic word, which like the history of his stratification is also a model of the historicity of understanding and the experience of time slowing down. Slowness, in the context of Opelík’s Čapek, receives numerous synonyms, some immediately implied (continuity and stability), others emerging from his Čapek reading spontaneously (service), and still others seeming to suggest themselves: loyalty. Loyalty to the author, a service rendered not only to him but also to the readers, to ongoing research, to the constancy of the contemporary reader’s interest. Opelíkʼs methods remain an element of confidentiality in relation to the studied work, which is both first and last instance of understanding, confidentiality based on the slow experience of reading.

Refine search results

Empire of Ruins: American Culture, Photography, and the Spectacle of Destruction by Miles Orvell (A Book Review)

(Re)konstrukcja rodzinnej historii. Fotograficzny błąd w funkcji triku

Seeing Silence by Mark C. Taylor (A Book Review)

Photogrammetric documentation of archaeological artefacts: The current state of the art and future prospects

Starring: Photos. On Polish iconographic films made from photos

Explorations on the Event of Photography: Dasein, Dwelling, and Skillful Coping in a Cuban Context

Fotoplastikon di Jacek Dehnel come macchina multimediale

COVID-19 and Instagram: An Analysis of an Ibero-American Infodemic

Recuerdos, emoción, representación. Formas de la memoria de la represión en la España actual

Nudity, Sexuality, Photography. Visual Redefinition of the Body

Fotografia pierwszego stopnia – o niemożliwości powrotu do źródła. Na przykładzie Mercedesa-Benza Pawła Huellego

Tagowanie zdjęć portretowych w serwisie Instagram

The Ambivalence of African-American Culture. The New Negro Art in the interwar period

Fotografia uwalniająca rzeczywistość. Fotograficzna inwentaryzacja świata

Komunikowanie obrazem. Współczesna prasa katolicka w obliczu przemian technologicznych

Dvě lekce studia literatury aneb o pomalosti