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.
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