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020 |a9781138544321|q(electronic bk.)
020 |a1138544329|q(electronic bk.)
020 |a9781351004251
020 |a1351004255
020 |a9781351004237|q(electronic bk. : Mobipocket)
020 |a1351004239|q(electronic bk. : Mobipocket)
020 |a9781351004244|q(electronic bk. : EPUB)
020 |a1351004247|q(electronic bk. : EPUB)
020 |z9781138544314
024 7 |a10.4324/9781138544321|2doi
035 |a(OCoLC)1082518959
035 |a(OCoLC-P)1082518959
040 |aOCoLC-P|beng|erda|epn|cOCoLC-P
041 |aeng
049 |aTürk Tarih Kurumu Kütüphanesi
050 4|aTR183
072 7|aCOM|x087030|2bisacsh
072 7|aPHO|x017000|2bisacsh
072 7|aTEC|x015000|2bisacsh
072 7|aART|x015000|2bisacsh
072 7|aPHO|x010000|2bisacsh
072 7|aSCI|x034000|2bisacsh
072 7|aAC|2bicssc
082 04|a770|223
100 1 |aBelden-Adams, Kris,|eauthor.
245 10|aPhotography, temporality, and modernity :|btime warped /|cKris Belden-Adams.
250 |aFirst edition.
264 1|aNew York, NY :|bRoutledge,|c2019.
300 |a1 online resource.
336 |atext|btxt|2rdacontent
337 |acomputer|bc|2rdamedia
338 |aonline resource|bcr|2rdacarrier
490 1 |aRoutledge history of photography
505 0 |aCover; Half Title; Series Page; Title Page; Copyright Page; Dedication; Table of Contents; List of Figures; Acknowledgements; 1. Photography and Time; The Multifariousness of Photographic Time; Notes; Bibliography; 2. Photography, Instantaneity, and the "Frozen Moments"; The "Instant": A Romantic Era Visual-Culture Fascination; Daguerre, the Diorama, and Departures From "Lived-Time" and "Reality"; Talbot's "Fairy Pictures": "Fixing Shadows," the "Momentary"; The "Instant," Canonized: Photography's Technological Evolution; Photography as Catalyst and Symptom of Modernity
505 8 |aSpark and Strobe Illumination: Pushing the Boundaries of the Temporal FragmentDeath of a (Many) Light Bulb(s): Examining Edgerton's Altered Series; Photography, Instantaneity and Multifarious Temporalities; Notes; Bibliography; 3. The Fluidity of "Narrative Time"; The Temporal Complexity of "The One I Think I Am" and "The One I Want Others to Think I Am"; Connecting to Grand Historical Narratives; The Leighton Family as "Gumps": The Portrait-Taking Story; The Subjectivity of "Narrative Time"; Time Anxiety and the Leighton Family Portrait; Observers' Reinterpretations of the "Exhibited Self"
505 8 |aThe Leighton Family Portrait in Time/s"Narrative Time" and Subjectivity: Precedents in Practice and Theory 61 Vernacular History and "Objectivity"; Notes; Bibliography; 4. Asynchronous, "Sculptural" Time and the Racing Photo Finish; A Pre-History of the Photo Finish: Muybridge's Images of "Instantaneous" Time; Pre-History of the Photo Finish, Part Two: The Problems With the Fraction-of-a-Second-Exposure Image; The Fraction-of-a-Second, Full-Field Photo Finish in Practice; Horizontal Shutters, Moments Missed: Problems With the Single-Exposure Photo Finish
505 8 |aThe Strip-Photography Photo Finish: A Camera That Did Not "Blink"The Time-and-Space Matrix of the Strip-Photography Photo Finish; Strip Photography in Its Technological and Historical Context: The Panorama; Peripheral Photography as Photo-Finish Precedent; Conclusions; Notes; Bibliography; 5. A"Tapestry" of Synthetic, Hypothetical Digital Time: NASA's Whole-Earth Photographs as "Data Visualizations"; Big Blue Marble's Re-Generation: Digital Whole-Earth Image-Making Practices; Photography as Medium for Data Visualization: Synthetic, Hypothetical Time
505 8 |aPhotography as Medium for Analog VisualizationsData Made Visible: Photographic Composites, Theorized; Notes; Bibliography; 6. Conclusions; Photography as Agent and Catalyst of Technological Modernity and Postmodernity; Time Embodied as Temporality, Subjectivity; Notes; Bibliography; Index
520 |aThis book examines the photography's unique capacity to represent time with a degree of elasticity and abstraction. Part object-study, part cultural/philosophical history, it examines the medium's ability to capture and sometimes "defy" time, while also traveling as objects across time-and-space nexuses. The book features studies of understudied, widespread, practices: studio portraiture, motion studies, panoramas, racing photo finishes, composite college class pictures, planetary photography, digital montages, and extended-exposure images. A closer look at these images and their unique cultural/historical contexts reveals photography to be a unique medium for expressing changing perceptions of time, and the anxiety its passage provokes.
588 |aOCLC-licensed vendor bibliographic record.
650 0|aTime and photography.
650 0|aPhotography|xPsychological aspects.
650 0|aTime|xPsychological aspects.
650 7|aCOMPUTERS / Digital Media / Photography.|2bisacsh
650 7|aPHOTOGRAPHY / Reference.|2bisacsh
650 7|aTECHNOLOGY & ENGINEERING / Imaging Systems.|2bisacsh
650 7|aART / History / General|2bisacsh
650 7|aPHOTOGRAPHY / History|2bisacsh
650 7|aSCIENCE / History|2bisacsh
856 40|3Taylor & Francis|uhttps://www.taylorfrancis.com/books/9781138544321
856 42|3OCLC metadata license agreement|uhttp://www.oclc.org/content/dam/oclc/forms/terms/vbrl-201703.pdf
901 |aTaylor & Francis