LEADER 03637cam a2200349Ii 4500
001 802628
003 TR_AnAIT
005 20260123024226
008 180706s2017 xx o 000 0 eng d
020 |a9780203792896|q(e-book : PDF)
020 |a9781351521666|q(e-book: Mobi)
020 |z9781138509306|q(paperback)
020 |z9781412852708|q(hardback)
024 7 |a10.4324/9780203792896 |2doi
035 |a(OCoLC)1004202850
040 |aFlBoTFG|cFlBoTFG|erda
041 |aeng
049 |aTürk Tarih Kurumu Kütüphanesi
050 4|aHM500|b.S548 2017
100 1 |aShevchenko, Olga,|eauthor.
245 10|aDouble Exposure :|bMemory and Photography /|cOlga Shevchenko.
250 |aFirst edition.
264 1|aLondon :|bTaylor and Francis,|c2017.
300 |a1 online resource
336 |atext|2rdacontent
337 |acomputer|2rdamedia
338 |aonline resource|2rdacarrier
505 00|tchapter 1 Memory and Photography: An Introduction /|rOlga Shevchenko -- |tpart I Public Memories -- |tchapter 2 Willy Brandt in Warsaw: Event or Image? History or Memory? -- |tchapter 3 A Photo That Matters: The Memorial Clock in Bologna and Its Invented Tradition -- |tchapter 4 Framing Zarqawi: Afterimages, Headshots, and Body Politics in a Digital Age -- |tchapter 5 Photography and the Event /|rMartin Jay -- |tpart II Private Archives -- |tchapter 6 The Significance of Memory in Japanese Family /|rPhotography -- |tchapter 7 Soviet Past in Domestic Photography: Events, Evidence, Erasure -- |tpart III Photographic Sociabilities -- |tchapter 8 Out and About: Photography, Topography, and Historical Imagination -- |tchapter 9 Flickr: Photo Sharing Sites between Collective and Connective Memory.
520 2 |a"Over the past decade, historians and sociologists have increasingly used visual materials, in particular photographs, in their work. This volume brings together historians, sociologists, anthropologists, and media and visual scholars to articulate how photography, as a practice and as a visual medium, can provide insights into national memory, collective identities, and the historical imagination. This collection allows the reader to trace parallel conceptual developments occurring in the sociology and anthropology of memory and in the history and theory of photography, and to illustrate the unique "angles of vision" these disciplines offer. Photographic images commonly accompany historical accounts, from documentaries to family scrapbooks, and since the early days of commercial photography, pictures have been viewed as tools to capture memories. Later critical writing has challenged this equation by inverting it: photos, along with other archival practices, were often viewed as falling short of their supposed function as vessels of memory and at times even denounced as devices that distorted memories. How does photography participate in the formation and maintenance of collective identities and shared memory discourses, from the family to the nation? Furthermore, how can we begin to conceptualize photography's effects on the historical imagination of individuals and groups? Double Exposure endeavors to answer these questions by calling attention to the variety of contexts in which images circulate and to the narratives from which they spring and which they, in turn, shape. This is the latest volume in Transaction's Memory and Narrative series."--Provided by publisher.
650 0|aPhotography|xSocial aspects.
650 0|aVisual sociology.
650 0|aCollective memory.
650 0|aNationalism.
650 04|aHistory
776 08|iPrint version: |z9781412852708|w(DLC) 2013010118
856 40|uhttps://www.taylorfrancis.com/books/9780203792896|zClick here to view.
901 |aTaylor & Francis