Poister, Geoffrey 2002 0-7734-7299-1 304 pages This study determined that there are significant differences in subject content, visual style, and expression of cultural values in the photo collections, and that these are most strongly linked to differences in the parent culture, class, and gender. The effect of immigration is a dominant factor.
“. . . until this book by Geoffrey Poister no one has done a systematic cross-cultural study of family photography. Poister not only looks at the private pictures of kin in their everyday worlds but also analyzes how family photography constructs family life. The author does not rely on methods that might distance him or us from his subjects, he gets close and personal using long interviews and participant observation on location, in homes. Poister reveals how photograph albums capture an idealized romantic version of the nuclear family. . . . By integrating the study of visual culture and family life, Poister’s innovative scholarship makes a contribution to many fields including sociology, anthropology, communications, and human development. This is both an insightful and richly descriptive book, one that will keep you reflecting about your own life and how you picture it.” – Robert Bogdan
Man Ray/Emmanuel Radnitsky (1890-1976) was a pioneer in the medium of photography as art and has the reputation of being one of the most innovative photographers of the 20th century with his creative contribution resting largely on his Surrealist photographic images. His version of Surrealism is fleshed out in this study with its radically different interpretation of his work to broaden our understanding of his involvement with fetishism and algolagnia. This volume includes 429 Black and White Photos.
Kidd, Stuart Stanley 2004 0-7734-6510-3 316 pages This study explores the FSA photographic project’s engagement with the South from 1935-1943. In particular it describes Roy Stryker’s Historical Section as an arm of the liberal state and as an adjunct of the mass communications industry. It charts the project’s coverage of southern tenant farmers, African Americans, small towns and mechanized farms, from the schedules devised in Washington headquarters, through the photographers’ work in the field, to the use of FSA images by the national media. The images are explained in terms of an interaction between the administrative dynamics of New Deal politics and the practices and preconceptions of the photographers. Underlying, and often reinforcing, this tension was a dissonance expressed by many southern subjects toward the agency’s ideals or the photographers themselves. The book contains 40 images drawn from the RA/FSA/OWI files, many of which have not been featured in previous studies.
Lucas, Christopher J. 1990 0-88946-508-8 352 pages An invaluable reference for Sinologists, historians of photography, and museum archivists: a rare assortment of prints taken by an eye-witness observer to the Boxer Uprising in the summer of 1900, with accompanying text. In the photographs taken for this 1900 travelogue, Ricalton's photographic style is unmistakable, done with an eye for composition and detail that set his images far above the ordinary. His travelogue and photography are also important for their documentary reportage of a world long since obliterated. The Ricalton travelogue itself - CHINA THROUGH THE STEREOSCOPE - is divided into "A Journey Through the Dragon Empire at the Time of the Boxer Uprising" and "The Boxer Uprising: Journal to the Seat of War." With appendix, notes, and bibliography.
Dalle Pezze, Barbara 2009 0-7734-4822-5 224 pages This work demonstrates that Heidegger’s experience of Gelassenheit and the experience of the German mystic Meister Eckhart intersect. The experience of Gelassenheit, as developed and introduced by Heidegger, points to and sheds light upon the dimension out of which Eckhart speaks of the true relation between man and god.
Pearce, Nick 2005 0-7734-6090-X 252 pages This book provides an addition to the small but growing body of literature on the practices of photography in China. Using a collection of a surviving nineteenth century photographs of Beijing held in the collection of the Oriental Museum, University of Durham, the author explores both the cityscape as it was recorded by two Scottish photographers and the interplay of personality and professional identities within the Foreign Legation quarter during a thirty-five year period.
Three people are central to the book: the professional photographer John Thomson, the amateur photographer and missionary doctor, John Dudgeon and Stephen Bushell, physician to the British Legation, pioneer historian of Chinese art and original owner of the collection of the photographs. They provide the context and practice and provenance for the photographs and offer insight into the life of the small contingent of Westerners who resided within the walls of China’s capital.
The lives and activities of John Dudgeon and Stephen Bushell are explored here for the first time, the former revealed as an important contributor to the development of photography in China, the latter a major influence on the formation and interpretation of a number of important collections of a Chinese art in Britain and America.
This book will be of interest to historians of photography, art, architecture and China during the late nineteenth century.
Dorsinville, Max 2004 0-7734-6576-6 212 pages This study is a contribution to literary and cultural history. It argues that, as mirrored acts of representation, the visual and verbal yield a common language based on the image defined by Ezra Pound as ‘an intellectual and emotional complex in an instant of time.’ The study refers to other modernist writers such as Joseph Conrad, T. S. Eliot, and Ernest Hemingway, the photography of Henri Cartier-Bresson, and the theories on perception of Maurice Merleau-Ponty, Jean-Paul Sartre, and John Berger. It applies these perspectives to the works of diverse writers who chose Cuba for a subject, finding a rich field for discussion of issues of representation, language and perception. In the concept of the gaze, it argues for the significance of a link between modernist theory and Cuban life represented in a range of works by Cristina Garcia, Edmundo Desnoes, Pico Iyer, Derek Walcott, and others, where nothing is what it seems.