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Photography's prominence in the representation and experience of India in contemporary and historical times has not guaranteed it a position of sustained attention in research and scholarship. For a technology as all pervasive as photography, and a country as colossal as India, this scenario is somewhat of an anomaly.
Photography's prominence in the representation and experience of India in contemporary and historical times has not guaranteed it a position of sustained attention in research and scholarship. For a technology as all pervasive as photography, and a country as colossal as India, this scenario is somewhat of an anomaly.
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Autorenporträt
Aileen Blaney is an educator, writer and researcher with an M.Phil and Ph.D. in Film Studies from Trinity College Dublin, Ireland. At Srishti, Aileen teaches in the PhD program, is Course Leader for the Postgraduate program in Screen Studies and delivers 'General Studies' courses in film, photography and visual theory and criticism at undergraduate level. Chinar Shah is a photo-based artist from India. She currently is a course leader for Photography at Srishti Institute of Art, Design and Technology, Bangalore.
Inhaltsangabe
Foreword Anna Fox, University for the Creative Arts, Farnham, UK 1. Introduction Aileen Blaney, Srishti Institute of Art, Design and Technology, India Part I: Photographic Time and Memory 1. In the Theatre of Memory: The Work of Contemporary Art in the Photographic Archive Raqs Media Collective 2. Lady Harriot Dufferin's Indian Album: 'My First Efforts in Photography, 1886' Denise A. Wilson 3. Itinerant Photography: Medium and Translation in the work of Imran Channa Zahid Chaudhary 4. Images of Deaths and Marriages: Syrian Christian Family Albums and Oral Histories in Kerala Pooja Sagar 5. All 'Dressed Up': Costume, Fashion and Identity in the Photographs of Homai Vyarawalla Sabeena Gadihoke 6. Putting Women in the Picture: The Role of Photography in Mobilizing Support for the Indian Emergency (1975-77) Gemma Scott 7. Copying and De-synchronizing: Performing the Past in Contemporary Indian Photography.Christopher Pinney Part II: Photographies in Contemporary India 8. Photography at the Edge of Representation?: Rethinking Photographs of Rural India Kathleen L. Wyma 9. Interrogating 'Credible Chhattisgarh': Photography and the Construction of a New Indian State Avrati Bhatnagar 10. Silenced Ruptures, Images from 2002 Gujarat Riots Chinar Shah 11. Satellite Images in India: Remotely Sensed and Ambiguously Accessed Muthatha Ramanathan 12. The Self Is as the Selfie Does: Three Propositions for the Selfie in the Digital Turn Nishant Shah 13. The Unfolding of the Networked Image: An Oscillation between a Simple Visibility and an Invisible Complexity Fabien Charuau 14. Post-Photography and Missing Images Joan Fontcuberta, Translation by Ana Mahé Afterword Fred Richin
Foreword Anna Fox, University for the Creative Arts, Farnham, UK 1. Introduction Aileen Blaney, Srishti Institute of Art, Design and Technology, India Part I: Photographic Time and Memory 1. In the Theatre of Memory: The Work of Contemporary Art in the Photographic Archive Raqs Media Collective 2. Lady Harriot Dufferin's Indian Album: 'My First Efforts in Photography, 1886' Denise A. Wilson 3. Itinerant Photography: Medium and Translation in the work of Imran Channa Zahid Chaudhary 4. Images of Deaths and Marriages: Syrian Christian Family Albums and Oral Histories in Kerala Pooja Sagar 5. All 'Dressed Up': Costume, Fashion and Identity in the Photographs of Homai Vyarawalla Sabeena Gadihoke 6. Putting Women in the Picture: The Role of Photography in Mobilizing Support for the Indian Emergency (1975-77) Gemma Scott 7. Copying and De-synchronizing: Performing the Past in Contemporary Indian Photography.Christopher Pinney Part II: Photographies in Contemporary India 8. Photography at the Edge of Representation?: Rethinking Photographs of Rural India Kathleen L. Wyma 9. Interrogating 'Credible Chhattisgarh': Photography and the Construction of a New Indian State Avrati Bhatnagar 10. Silenced Ruptures, Images from 2002 Gujarat Riots Chinar Shah 11. Satellite Images in India: Remotely Sensed and Ambiguously Accessed Muthatha Ramanathan 12. The Self Is as the Selfie Does: Three Propositions for the Selfie in the Digital Turn Nishant Shah 13. The Unfolding of the Networked Image: An Oscillation between a Simple Visibility and an Invisible Complexity Fabien Charuau 14. Post-Photography and Missing Images Joan Fontcuberta, Translation by Ana Mahé Afterword Fred Richin
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