The Routledge Companion to Photography, Representation and Social Justice
Herausgeber: Neumüller, Moritz
The Routledge Companion to Photography, Representation and Social Justice
Herausgeber: Neumüller, Moritz
- Gebundenes Buch
- Merkliste
- Auf die Merkliste
- Bewerten Bewerten
- Teilen
- Produkt teilen
- Produkterinnerung
- Produkterinnerung
Including work by leading scholars, artists, scientists and practitioners in the field of visual culture, The Routledge Companion to Photography, Representation and Social Justice is a seminal reference source for the new roles and contexts of photography in the 21st century.
Andere Kunden interessierten sich auch für
![The Photography Handbook]( "The Photography Handbook")
Terence WrightThe Photography Handbook66,99 €![Photography, Anthropology and History]( "Photography, Anthropology and History")
Elizabeth EdwardsPhotography, Anthropology and History77,99 €![The Routledge Companion to Design Research]( "The Routledge Companion to Design Research")
The Routledge Companion to Design Research304,99 €![The International Politics of Fashion]( "The International Politics of Fashion")
The International Politics of Fashion61,99 €![The Routledge Companion to Design Research]( "The Routledge Companion to Design Research")
The Routledge Companion to Design Research46,99 €![Photography and Place]( "Photography and Place")
Donna West Brett (Australia The University of Sydney)Photography and Place209,99 €![The Gender of Photography]( "The Gender of Photography")
Nicole HudginsThe Gender of Photography59,99 €-
-
-
Including work by leading scholars, artists, scientists and practitioners in the field of visual culture, The Routledge Companion to Photography, Representation and Social Justice is a seminal reference source for the new roles and contexts of photography in the 21st century.
Produktdetails
- Produktdetails
- Verlag: Taylor & Francis Ltd
- Seitenzahl: 446
- Erscheinungstermin: 30. Dezember 2022
- Englisch
- Abmessung: 244mm x 170mm x 25mm
- Gewicht: 1070g
- ISBN-13: 9781032112947
- ISBN-10: 1032112948
- Artikelnr.: 65938552
- Verlag: Taylor & Francis Ltd
- Seitenzahl: 446
- Erscheinungstermin: 30. Dezember 2022
- Englisch
- Abmessung: 244mm x 170mm x 25mm
- Gewicht: 1070g
- ISBN-13: 9781032112947
- ISBN-10: 1032112948
- Artikelnr.: 65938552
Moritz Neumüller is a curator, educator and writer in the field of photography and new media. He has worked for institutions such as MoMA New York and PhotoIreland Festival in Dublin and co-founded Photobook Week Aarhus (Denmark) in 2014. Since 2010, he has run The Curator Ship, an online resource for visual artists. Apart from his curatorial practice, Neumüller has been working for more than ten years at the forefront of making culture accessible for everybody, including disabled people. In 2009, he founded the project ArteConTacto and in 2011 the initiative MuseumForAll, with the mission to make museums open to all audiences.
0.1 Introduction 1. Representation, Identity and Inclusion 1.0 Chapter
Introduction 1.1 Representation and Responsibility: Institutions as
Changemakers 1.2 Between Camera and Canvas: Man Ray, Picasso, and the
Representation of Adrienne Fidelin 1.3 An Archive in a Suitcase. And the
Question What to Do With It 1.4 The Representation of the Inuit Population
in Greenland, Then and Now 1.5 Representations and Stereotypes of
Greenland, Revisited 1.6 Photography in Contemporary Jewelry Art 1.7
Repetitive Representations. The Case of Private Photographs 2. Diversity,
Empowerment and Social Justice 2.0 Chapter Introduction 2.1 The Railway and
its Images: Decolonizing Landscapes through the Works of Chinese Visual
Artists 2.2 Through Fa'afafabulous Glasses: An Interview with Yuki Kihara
2.3 Participatory Photography: Gaze, Representation and Agency 2.4
Canterbury, Revisited: Reflections on a Collaborative Photography Course
for Sighted and Visually Impaired Participants 2.5 Social Practice and
Photography: Who is Looking at Whom? 2.6 The Breath of Memory 2.7 The Role
of the Andean People in the Work of Martin Chambi, Revisited 3. Crisis and
Change 3.0 Chapter Introduction 3.1 Feminism and Photography: A Situated
Exploration of the Visual Archive of Feminisms in Chile 3.2 Freedom Is Not
Free 3.3 Selling the Great White Myth. A Reflection on the South African
Media and Communications Industry From the Life Experience of a Brown
Bodied Woman 3.4 Working with Archives - Past, Present, Future 3.5 Visual
Proof: How Glacier Photography Shows Us the Reality of Climate Change 3.6
When Will They Listen? 3.7 Art and Activism Revisited 4. Automated and
Networked Images 4.0 Chapter Introduction 4.1 Leaks, Growths and Caveats:
The Black Hole Image 4.2 Visualisation as a Political Act 4.3 How to
Photograph a Virus 4.4 Video Games Inside the Body: Medical Robots and the
Future of Tele Surgery 4.5 Orientation and Resistance in a Fog of Systems
4.6 Machine Learning for Aquatic Plastic Litter Detection Turned Into Art
4.7 Is this Still Photography? Online Experiences, NFTs and Digital
Vernacular 5. Censorship, Image Control and Manipulation 5.0 Chapter
Introduction 5.1 Who, How, and Where? Speaking, Writing, Making Art, and
Publishing in a Censorial World 5.2 Tonald Drump, Censorship and
Deplatforming 5.3 Interviews With Anonymous Internet Content Moderators 5.4
Selfies, Biometrics, Geolocation and the 2021 Capitol Hill Riot: How
Photography is Used in the Service of Surveillance 5.5 The Real, the
Unreal, and the Authentic 5.6 Image Archives in the Age of Surveillance
Capitalism 6. New Ways of Seeing 6.0 Chapter Introduction 6.1 Exiting the
Photographic Universe 6.2 Diversifying the Tools of Storytelling: From
Photography and Video to Virtual Reality 6.3 Lubumbashi to Paulshoek:
Iterations of the Local in Six African Photobook Projects 6.4 Remix:
Printed Matter From the Caribbean 6.5 Opening the Gates for Eastern
Concepts and Terminology for Photography Theory 6.6 Translation and Use of
Western Photography Theory in Asia 6.7 Deconstructing Red, Yellow, Black
and White
Introduction 1.1 Representation and Responsibility: Institutions as
Changemakers 1.2 Between Camera and Canvas: Man Ray, Picasso, and the
Representation of Adrienne Fidelin 1.3 An Archive in a Suitcase. And the
Question What to Do With It 1.4 The Representation of the Inuit Population
in Greenland, Then and Now 1.5 Representations and Stereotypes of
Greenland, Revisited 1.6 Photography in Contemporary Jewelry Art 1.7
Repetitive Representations. The Case of Private Photographs 2. Diversity,
Empowerment and Social Justice 2.0 Chapter Introduction 2.1 The Railway and
its Images: Decolonizing Landscapes through the Works of Chinese Visual
Artists 2.2 Through Fa'afafabulous Glasses: An Interview with Yuki Kihara
2.3 Participatory Photography: Gaze, Representation and Agency 2.4
Canterbury, Revisited: Reflections on a Collaborative Photography Course
for Sighted and Visually Impaired Participants 2.5 Social Practice and
Photography: Who is Looking at Whom? 2.6 The Breath of Memory 2.7 The Role
of the Andean People in the Work of Martin Chambi, Revisited 3. Crisis and
Change 3.0 Chapter Introduction 3.1 Feminism and Photography: A Situated
Exploration of the Visual Archive of Feminisms in Chile 3.2 Freedom Is Not
Free 3.3 Selling the Great White Myth. A Reflection on the South African
Media and Communications Industry From the Life Experience of a Brown
Bodied Woman 3.4 Working with Archives - Past, Present, Future 3.5 Visual
Proof: How Glacier Photography Shows Us the Reality of Climate Change 3.6
When Will They Listen? 3.7 Art and Activism Revisited 4. Automated and
Networked Images 4.0 Chapter Introduction 4.1 Leaks, Growths and Caveats:
The Black Hole Image 4.2 Visualisation as a Political Act 4.3 How to
Photograph a Virus 4.4 Video Games Inside the Body: Medical Robots and the
Future of Tele Surgery 4.5 Orientation and Resistance in a Fog of Systems
4.6 Machine Learning for Aquatic Plastic Litter Detection Turned Into Art
4.7 Is this Still Photography? Online Experiences, NFTs and Digital
Vernacular 5. Censorship, Image Control and Manipulation 5.0 Chapter
Introduction 5.1 Who, How, and Where? Speaking, Writing, Making Art, and
Publishing in a Censorial World 5.2 Tonald Drump, Censorship and
Deplatforming 5.3 Interviews With Anonymous Internet Content Moderators 5.4
Selfies, Biometrics, Geolocation and the 2021 Capitol Hill Riot: How
Photography is Used in the Service of Surveillance 5.5 The Real, the
Unreal, and the Authentic 5.6 Image Archives in the Age of Surveillance
Capitalism 6. New Ways of Seeing 6.0 Chapter Introduction 6.1 Exiting the
Photographic Universe 6.2 Diversifying the Tools of Storytelling: From
Photography and Video to Virtual Reality 6.3 Lubumbashi to Paulshoek:
Iterations of the Local in Six African Photobook Projects 6.4 Remix:
Printed Matter From the Caribbean 6.5 Opening the Gates for Eastern
Concepts and Terminology for Photography Theory 6.6 Translation and Use of
Western Photography Theory in Asia 6.7 Deconstructing Red, Yellow, Black
and White
0.1 Introduction 1. Representation, Identity and Inclusion 1.0 Chapter
Introduction 1.1 Representation and Responsibility: Institutions as
Changemakers 1.2 Between Camera and Canvas: Man Ray, Picasso, and the
Representation of Adrienne Fidelin 1.3 An Archive in a Suitcase. And the
Question What to Do With It 1.4 The Representation of the Inuit Population
in Greenland, Then and Now 1.5 Representations and Stereotypes of
Greenland, Revisited 1.6 Photography in Contemporary Jewelry Art 1.7
Repetitive Representations. The Case of Private Photographs 2. Diversity,
Empowerment and Social Justice 2.0 Chapter Introduction 2.1 The Railway and
its Images: Decolonizing Landscapes through the Works of Chinese Visual
Artists 2.2 Through Fa'afafabulous Glasses: An Interview with Yuki Kihara
2.3 Participatory Photography: Gaze, Representation and Agency 2.4
Canterbury, Revisited: Reflections on a Collaborative Photography Course
for Sighted and Visually Impaired Participants 2.5 Social Practice and
Photography: Who is Looking at Whom? 2.6 The Breath of Memory 2.7 The Role
of the Andean People in the Work of Martin Chambi, Revisited 3. Crisis and
Change 3.0 Chapter Introduction 3.1 Feminism and Photography: A Situated
Exploration of the Visual Archive of Feminisms in Chile 3.2 Freedom Is Not
Free 3.3 Selling the Great White Myth. A Reflection on the South African
Media and Communications Industry From the Life Experience of a Brown
Bodied Woman 3.4 Working with Archives - Past, Present, Future 3.5 Visual
Proof: How Glacier Photography Shows Us the Reality of Climate Change 3.6
When Will They Listen? 3.7 Art and Activism Revisited 4. Automated and
Networked Images 4.0 Chapter Introduction 4.1 Leaks, Growths and Caveats:
The Black Hole Image 4.2 Visualisation as a Political Act 4.3 How to
Photograph a Virus 4.4 Video Games Inside the Body: Medical Robots and the
Future of Tele Surgery 4.5 Orientation and Resistance in a Fog of Systems
4.6 Machine Learning for Aquatic Plastic Litter Detection Turned Into Art
4.7 Is this Still Photography? Online Experiences, NFTs and Digital
Vernacular 5. Censorship, Image Control and Manipulation 5.0 Chapter
Introduction 5.1 Who, How, and Where? Speaking, Writing, Making Art, and
Publishing in a Censorial World 5.2 Tonald Drump, Censorship and
Deplatforming 5.3 Interviews With Anonymous Internet Content Moderators 5.4
Selfies, Biometrics, Geolocation and the 2021 Capitol Hill Riot: How
Photography is Used in the Service of Surveillance 5.5 The Real, the
Unreal, and the Authentic 5.6 Image Archives in the Age of Surveillance
Capitalism 6. New Ways of Seeing 6.0 Chapter Introduction 6.1 Exiting the
Photographic Universe 6.2 Diversifying the Tools of Storytelling: From
Photography and Video to Virtual Reality 6.3 Lubumbashi to Paulshoek:
Iterations of the Local in Six African Photobook Projects 6.4 Remix:
Printed Matter From the Caribbean 6.5 Opening the Gates for Eastern
Concepts and Terminology for Photography Theory 6.6 Translation and Use of
Western Photography Theory in Asia 6.7 Deconstructing Red, Yellow, Black
and White
Introduction 1.1 Representation and Responsibility: Institutions as
Changemakers 1.2 Between Camera and Canvas: Man Ray, Picasso, and the
Representation of Adrienne Fidelin 1.3 An Archive in a Suitcase. And the
Question What to Do With It 1.4 The Representation of the Inuit Population
in Greenland, Then and Now 1.5 Representations and Stereotypes of
Greenland, Revisited 1.6 Photography in Contemporary Jewelry Art 1.7
Repetitive Representations. The Case of Private Photographs 2. Diversity,
Empowerment and Social Justice 2.0 Chapter Introduction 2.1 The Railway and
its Images: Decolonizing Landscapes through the Works of Chinese Visual
Artists 2.2 Through Fa'afafabulous Glasses: An Interview with Yuki Kihara
2.3 Participatory Photography: Gaze, Representation and Agency 2.4
Canterbury, Revisited: Reflections on a Collaborative Photography Course
for Sighted and Visually Impaired Participants 2.5 Social Practice and
Photography: Who is Looking at Whom? 2.6 The Breath of Memory 2.7 The Role
of the Andean People in the Work of Martin Chambi, Revisited 3. Crisis and
Change 3.0 Chapter Introduction 3.1 Feminism and Photography: A Situated
Exploration of the Visual Archive of Feminisms in Chile 3.2 Freedom Is Not
Free 3.3 Selling the Great White Myth. A Reflection on the South African
Media and Communications Industry From the Life Experience of a Brown
Bodied Woman 3.4 Working with Archives - Past, Present, Future 3.5 Visual
Proof: How Glacier Photography Shows Us the Reality of Climate Change 3.6
When Will They Listen? 3.7 Art and Activism Revisited 4. Automated and
Networked Images 4.0 Chapter Introduction 4.1 Leaks, Growths and Caveats:
The Black Hole Image 4.2 Visualisation as a Political Act 4.3 How to
Photograph a Virus 4.4 Video Games Inside the Body: Medical Robots and the
Future of Tele Surgery 4.5 Orientation and Resistance in a Fog of Systems
4.6 Machine Learning for Aquatic Plastic Litter Detection Turned Into Art
4.7 Is this Still Photography? Online Experiences, NFTs and Digital
Vernacular 5. Censorship, Image Control and Manipulation 5.0 Chapter
Introduction 5.1 Who, How, and Where? Speaking, Writing, Making Art, and
Publishing in a Censorial World 5.2 Tonald Drump, Censorship and
Deplatforming 5.3 Interviews With Anonymous Internet Content Moderators 5.4
Selfies, Biometrics, Geolocation and the 2021 Capitol Hill Riot: How
Photography is Used in the Service of Surveillance 5.5 The Real, the
Unreal, and the Authentic 5.6 Image Archives in the Age of Surveillance
Capitalism 6. New Ways of Seeing 6.0 Chapter Introduction 6.1 Exiting the
Photographic Universe 6.2 Diversifying the Tools of Storytelling: From
Photography and Video to Virtual Reality 6.3 Lubumbashi to Paulshoek:
Iterations of the Local in Six African Photobook Projects 6.4 Remix:
Printed Matter From the Caribbean 6.5 Opening the Gates for Eastern
Concepts and Terminology for Photography Theory 6.6 Translation and Use of
Western Photography Theory in Asia 6.7 Deconstructing Red, Yellow, Black
and White