Documentary Photography

Once on a departing flight from LAX, Mark Ruwedel glanced down from the height of his window seat and noticed a short tract of sand between the runway and the coastal highway. What stretched out below him was the El Segundo Dunes Preserve, the last remaining sand dunes in Los Angeles, still marked by the remnants of the neighbourhood of Surfridge, a seaside town of hundreds of homes demolished in the 1960s to make way for airport expansion. As the plane approached thirty thousand feet, the landscape appeared both fully undone and oddly legible, its pattern of disappearance rendered visible from above. It was this view that pointed toward the kinds of places central to Ruwedel's The Western Edge (MACK, 2025), the less-travelled and fenced-off stretches of the coastal terrain he explored by car and on foot for over a decade, culminating in a photobook charting the shoreline of Southern California from Point Mugu to the Bolsa Chica Wetlands.

En el año 2020 Valeriano Bozal publicó Otra España negra en la
editorial Prensas de la Universidad de Zaragoza, una pequeña
recopilación en torno a uno de los asuntos que más le habían
interesado a lo largo de su trayectoria: el contexto en el que la
literatura y la pintura se habían desarrollado en los albores de la
modernidad, en el paso del siglo XIX al XX, en las distintas áreas
geográficas españolas. Hasta entonces se había centrado en Galicia,
País Vasco y Cataluña y sólo en esta última incursión abordaba el
caso de Madrid. En todas las áreas tratadas, encontraba un
denominador común en aquel proceso: la persistencia de una cierta
mirada hacía los menos favorecidos, que hundía sus raíces en lo que
se conoce como el tópico de España negra. Más allá de esta
constatación, lo relevante de este libro era la continuidad que Bozal
planteaba en torno a este concepto; esto es, que “España negra” no
se limitaba al mundo rural, sino que con el cambio de siglo se
extendía también a aquel otro, urbano e industrial y que resurgía
con fuerza tras la Guerra Civil española: “una España negra
diferente, otra, no menos cruel e injusta que la tradicional”1. La
mirada a esta España desposeída fue una de las mayores
preocupaciones y contribuciones en la trayectoria de Bozal, que siempre trató de explicar y explicarse el mundo de forma concreta
y en relación con el contexto político, social, filosófico y literario de
cada momento, excediendo con mucho la cuestión puramente
artística.

The debate over colorizing historical photographs has largely been framed as a binary choice between preservation and manipulation, between archival purity and popular accessibility.

This framing is intellectually lazy. It presumes that the monochrome photograph represents an unmediated historical truth, while colorization constitutes a form of historical tampering.

Both premises are false.

I will argue that colorization, properly understood, does not compromise photographic evidence but rather restores dimensions of historical reality that monochrome photography necessarily excludes. Further, I contend that the resistance to colorization reveals more about contemporary anxieties regarding technological mediation than about any genuine commitment to historical accuracy. By examining the intersection of color photography's technical development with the career of Louis Comfort Tiffany—an artist whose life's work centered on color and light—I demonstrate that colorization can function as historical interpretation rather than historical distortion.

Therapeutic photography consists of techniques and tools from photography aimed at generating a positive change in individuals or groups. In individuals, through the use or creation of images, it seeks to improve health, provide well-being, personal growth, and enhance communication and expressive skills. In groups, through expression via images, it produces transformations, empowers, raises awareness, and brings other environments and realities closer. This is the subject of the present graduation project, which is contextualized within the curriculum completion cycle for the Bachelor's Degree in Photography at the University of Palermo. It is framed in the Research category and the History and Trends thematic line. The study is conducted through the analysis of five works created by four photography students from the Andy Goldstein School of Photography between 2018 and 2019, and their experiences throughout the creative process. As preliminary steps, a theoretical overview is carried out to understand how photography, since its beginnings, started to approach uses in therapeutic settings. A referential framework is established to understand creativity as a process formed by five phases. The therapeutic photography techniques of Canadian author Judy Weiser are described, and through the Spanish author David Viñuales, the phases of the photographic act, which possesses properties with therapeutic possibilities, are identified. Likewise, an approach is made to the state of therapeutic photography in Argentina.

This paper examines the role of photography in facilitating societal paradigm change through the lens of liminality and embodied neuroscience. Building on Victor Turner’s anthropology of ritual, Stephen Porges’ polyvagal theory, and recent research in embodied cognition, we argue that photography can function as a liminal medium—activating unconscious cultural codes, engaging neural feedback systems, and generating conscience-level transformations in viewers. A framework is proposed for conceptualizing the photographer as a liminal guide, and an experimental model is outlined to empirically test whether liminal photographic practice can measurably influence the evolution of conscience in societies undergoing threshold transitions.

Documentaries are a medium for capturing the reality of people by constructing their everyday life. They are narratives told using sound and moving pictures that highlight the world's wonder, complexity, and contradictions. These moving photographs visually express the life of people, the hardships and the events revolving around them. Non-fiction films dramatise factual information to the readers instead of presenting creatively, and are compelling, informative and appreciated as they represent the events without moulding them. Documentaries attempt to enlighten, educate, and raise awareness by utilising interviews, archive material, reenactments, and narration. They also present a non-fictional perspective that frequently challenges and broadens viewers' perception of the world. The documentaries epitomise the social, cultural and economic facets by portraying the lives of people living in different parts of the world. The present paper studies how cities are represented through documentaries and analyses non-fiction films as a platform for encapsulating the authenticity of the select cities. The analysis includes documentaries Calcutta (1969) by Louis Malle, Bombay Our City by Anand Patwardhan and Dilli by Rintu Thomas and Sushmit Ghosh. The study attempts to understand the economic disparity, social problems and other struggles in the lives of people living in cities through documentaries made on Indian metropolitan cities.

This survey paper interrogates four theoretical frameworks often invoked to analyze intersections between media and religion: mediatization, mediation of meaning, mediation of the beyond, and religious social shaping of technology. The paper surveys several research works informed by the aforementioned theories that study Pentecostals' engagement with different forms of media in Africa. This paper suggests that these theories need to be revised to provide a balanced assessment of Pentecostalism and media technologies. Advancements in technology, particularly sophisticated of algorithms, transformed media into an intelligent and dynamic space that enormously influences media consumers. The theory of mediatization gave power and agency to media logic. However, the other theories (mediation of meaning, mediation of the beyond, and religious social shaping of technology) focused on human agency and saw media as an inert space with many features that users can use as they see fit. To remedy this unbalanced relationship, the paper calls for a new theory that accounts for the agency of both the users and the media platforms.

Narratives cannot be reduced to the sequential transmission of events; they are multilayered structures embedded with ideological and conceptual density. Meaning often arises not from the events themselves, but from the structural oppositions that shape their configuration. In this context, the importance of dichotomous structures in narrative analysis emerges. This study examines the five-part HBO mini-series Chernobyl (2019) through the lens of structuralist narratology, focusing on how thematic and formal dichotomies shape the narrative architecture. The series is not merely a dramatic reconstruction of the 1986 Chernobyl Nuclear Disaster, but also a critical reflection on modernity, knowledge regimes, and ethicalpolitical structures. The central research question addresses how the series constructs five key oppositions-truth vs. lies, life vs. bureaucracy, nature vs. technology, female vs. male, and freedom vs. security-and how these oppositions contribute to the articulation of an underlying ideological worldview. The aim is to demonstrate that Chernobyl should be approached not solely as a popular cultural product, but as a conceptual site of ideological reflection and critical engagement. Methodologically, the study adopts a qualitative textual analysis grounded in structuralist narratology. Drawing on this theoretical framework, each dichotomy is analyzed in terms of narrative structure, character dynamics, visual strategies, and discursive configurations. This approach enables a multilayered interpr depth. Ultimately, Chernobyl is assessed as a powerful cultural text that makes visible the ethical, ideological, and epistemological tensions of the contemporary world through a densely woven narrative fabric.

Résumé

Hervé Guibert (1955-1991), critique, écrivain et photographe, conservait nombre d’œuvres et d’images qu’il incluait à ses récits ou ses romans et que l’on voit régulièrement dans ses clichés. Cet ensemble iconographique n’existant plus qu’à l’état de traces d’un atelier littéraire éparpillé, il est opportun de se demander en quoi une pratique artistique seconde permet de révéler les supports et dispositifs de travail d’un auteur, et dans quelle mesure elle confirme son cheminement.

Mots clés

Atelier littéraire, pratique photographique, trace existentielle, table d’écrivain, tableau, collection iconographique, portrait, image, reproduction, carte postale, photographie, mise en abîme.

This article, part of the series Les 100 Photos du siècle, examines the historical and symbolic significance of the final photograph of Chilean President Salvador Allende, taken on September 11, 1973, during the military coup led by General Augusto Pinochet. The image, captured inside the presidential palace La Moneda amid aerial bombardment, marks the last visual testimony of Allende before his suicide. Initially anonymous, the photographer was later identified as Leopoldo Victor Vargas, an Air Force non-commissioned officer and official photographer to the presidency from 1964 to 1973. The revelation emerged through investigative efforts by Chilean journalist Hermes Benitez and Robert Pledge, director of the photo agency Contact, who published the findings in Septembre au Chili, 1971–1973. The article intertwines personal recollections of the author with broader reflections on the cultural and political aftermath of the coup, including the torture and execution of artist Victor Jara. It underscores the enduring power of visual and musical testimony in confronting historical violence and preserving democratic memory.

Being a crucial part of the US-led Asia-Pacific security framework and standing against PRC expansion, Taiwan and its off-shore islands acted as an anti-communist bulwark during the Cold War. Under the prevailing fear of communist infiltration, it is somewhat surprising that ROC authorities opened its door and promoted international tourism in 1956. In the mid-1960s, as part of a policy to accelerate the promotion of Taiwan's international tourism, the Kuomintang (KMT, Chinese nationalist) government launched Tourism in Taiwan 觀光 1 (1966 ~ 1974), the first and one of the most important official bilingual monthlies to promote the island as an international tourist destination. In the magazine, Taiwan was portrayed as the reservoir of traditional Chinese culture on the one hand, and a tropical pleasure island of sunshine, sandy beaches and natural beauty on the other. To understand the somewhat surprising move taken by the KMT leadership and explore how the island was imaged as an international tourist destination, this chapter considers the ways in which the island was portrayed, explores the messages the magazine attempted to convey, and reflects on the embedded power relations in the shaping and construction of Taiwan's tourist 'brand.' Through a systematic examination of 87 issues of Tourism in Taiwan, I investigate how this nationbranding practice was conducted, and why and how international tourism became a useful political tool for the ROC to win favor with its greatest allythe US. In so doing, this investigation reveals a constant tension between the imagination of a 'tropical paradise' (by Anglo-European tourists), the portrayal of a 'Chinese island' (by the KMT), and the provision and reshaping of local cultures and tourist resources. This examination demonstrates that the international tourism branding was not a simple matter of economic activities that were solely devised by local authorities or the tourism industry. Rather, the building, (re)imaging and construction of the island's 'tourability' reflected complex power relations between its many 'authors' in this nation-branding process. 1 The Chinese title of the first issue, "Taiwan Guanguang," was simplified to "Guanguang" in Issue 2, while its English name remained unchanged.

Resumen: En este artículo se pretende explorar un concepto troncal en la lógica disruptiva, el de la aceleración. Entendiendo desde una perspectiva multidisciplinar y analizando sus implicaciones y consecuencias, especialmente en la educación. Se parte de la idea de que la aceleración es un fenómeno complejo y ambivalente, que puede tener efectos positivos o negativos según cómo se gestione y se experimente. Se revisan de manera sucinta algunos aportes de la literatura, de la filosofía y de pedagogos y en base a ellos se reflexiona en torno a los grandes desafíos y las enormes oportunidades que supone vivir en una sociedad acelerada teniendo como base los aportes de Paulo Freire. El objetivo es contribuir al debate sobre el papel de las tecnologías disruptivas y la necesaria recualificación de algunos aspectos centrales del quehacer educativo, basados en modelos pedagógicos pertinentes para este contexto del tiempo presente.

Tous droits réservés © UAAC-AAUC (University Art Association of Canada | Association d'art des universités du Canada), 2007 Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne. Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de

is a junior researcher (CICANT, Universidade Lusófona) whose main interests are technological cultures and visual media. She is currently preparing a PhD dissertation on nineteenth century's virtual tours and mediated tourism archaeology. She teaches "Visual Culture" and "Methods in Image Analysis" at the School of Communication, Arts and Information Technologi es (ECATI, Universidade Lusófona). She has published papers on haptic media, visual culture and image technologies. Ana Barroso is currently a PhD candidate at the University of Lisbon. She has been publishing in national/ international magazines/ books on art and film. She is also working as an experimental/ videoart artist and her works have been screened in several countries around the world.

The climate crisis has produced a renewed interest in the surface of the earth not merely as a material form but as a recording device. "Humans leave their mark," says Jussi Parikka in A Geology of Media, "and the earth carries it forward as an archive."  The earth's surface in holding, carrying, and recording the marks "humans" leave behind, in Parikka's phrasing, also presupposes the earth's depth-its crust and sediment. In this essay, I focus on the idea that the earth's surface is a form of media that is photographic in character. I show that artists and theorists figure the earth in this way in order to approach the material surface as providing evidence to be collected. In drawing attention to surfaces, landscape photography helps to show that the earth is thought about in layers. The earth's surface is then read as witness testimony, one which bears the inscriptions and imprints of history. 3 When these assumptions are combined with the counter-cartographic techniques of the artist-researchers I look at in the next section, the effect is to reproduce the regime of the empirical and, in so doing, reinforce that reality functions empirically and is held in common. The production of a common understanding of what appears on the surface of the earth was perhaps the most important philosophical basis of colonial cartography and the imperial survey. As Brenna Bhandar argues in Colonial Lives of Property, only some inscriptions on the land were readable as "use" or "improvement," which underlined legal property claims. 5 Indeed, in Making Native Space, Cole Harris shows how surveying the land was the precondition for colonial settlement because of the way in which colonial logics of settlement proceeded on the creation of a distinction between reservation land, which was to be occupied by Indigenous people, and nonreservation land, which could be owned and therefore used by settlers. In these terms, to merely occupy land is a particular kind of being present on the landscape because of its relation to permanence. Settlers claimed permanence on the land by "improving" it, a process that relied upon the combination of a legal, political, and aesthetic character. 6 One of the primary aims of colonial cartography was to suggest that activity on the earth was empirical, readable, and able to be enforced. My main focus throughout is on Forensic Architecture, the London-based art-activist group of whom Eyal Weizman is the principal investigator. I read texts produced by Forensic Architecture, as well as their piece The Long Duration of a Split Second, which was presented at the Tate Britain. I also turn to artist-researcher Susan Schuppli's writing and installation work, which involves video, repurposing of images, legal documents, and text. If forensics as gaze is the art of the state-the biopolitical project that surveys, controls, and catalogues people and land-Forensic Architecture pursues

Timm Rautert’s Image-Analytical Photography is a photographic declaration of independence. It was clearly formulated in the years between 1968 and 1974—partially during Rautert’s studies atthe Folkwang School of Design in Essen. In a cycleof fifty-six works, Rautert unfolds a broad panorama of photographic materiality and pictoriality in which he leaves behind “photography as pictorial creation” (in the sense of vivid composition) promoted by his teacher Otto Steinert at the time, and instead tries to grasp photography as a complex medium of image and communication.

Esta tesis tiene por objeto estudiar una parte de la obra de Xavier Miserachs, aquélla que sirvió para dar origen al libro "Barcelona Blanc i Negre". La elección del autor, pues, viene determinada por la obra, y la importancia de este documento reside en cuatro puntos básicos: primero, porque es un ensayo fotográfico sobre Barcelona. De hecho, hasta ese momento, el único trabajo que se puede considerar un "ensayo" fotográfico es el realizado por Joan Colom sobre el barrio de la Ribera, "Izas, Rabizas y Colipoterras". Segundo, porque rompe con la forma de representar la ciudad. Las imágenes que nos ofrece Miserachs de Barcelona no son las habituales; hay una toma de postura del autor, ante la fotografía y ante la ciudad, que difiere de una manera radical de los trabajos anteriormente realizados. Tercero, porque 30 años después de su realización, las fotografías desprenden modernidad y continúan siendo vigentes. Cuarto, la aparición del libro, en el año 6...

Photography at Prahran College in the 1970s was integrated into the art school, a pedagogical environment unlike the universities in which the medium is now taught. James McArdle remembers his experience there of the lecturers and student colleagues and argues for the value of this atelier model in the teaching of art.

In Negative Originals, Juanita Solano Roa explores race and identity through photographic practices in late nineteenth-century Medellín, Colombia. Focusing on the photographic studios of Fotografía Rodríguez and Benjamín de la Calle, Solano Roa examines the visual construction and dissemination of racial ideologies and the linkage of race to progress. She studies both positive and negative prints to highlight the juxtaposition of traditional portraiture, which reinforced prevailing racial ideologies, and subversive depictions of often excluded individuals such as cross-dressers, peasants, the poor, and Afro-Colombians. In redefining photography’s role, Solano Roa shifts the critic’s eye from traditional positive prints to negatives, exposing the form’s material, symbolic, and spatial significance. In doing so, she simultaneously uncovers new perspectives on the medium and challenges hegemonic histories. Engaging one of Latin America’s most important photographic archives, Solano Roa addresses urgent gaps in the history of Colombian and Latin American photography, particularly at the intersection of race, gender, and the construction of whiteness.

This paper addresses archives in the context of contemporary art and exhibition curating. Rather than providing a comprehensive overview of the challenges of exhibiting and curating archives, it focuses on selected exhibitions by contemporary artists whose practices draw on various forms of archival organization. The discussion is informed by Ariella Aïsha Azoulay’s thesis that archival documents are not relics of a completed past, but rather active agents in the redress and negotiation of present and future conflicts. I engage with her concept of archival violence in relation to storage mechanisms, processes of entropy, and social exclusion. The paper examines several cases in which the archive is not merely presented as a set of documents, but subjected to critical reading, offering audiences alternative points of entry into historical processes of social exclusion, epistemological violence, exploitation, silencing, and marginalization of communities. The analysis compares selected projects by Jacqueline Hoàng Nguyễn, Judit Flóra Schuller, Zbyněk Baladrán, and Oto Hudec. Their archival installations highlight the multiplicity of identities and cultures, inviting a rethinking of dominant narratives upheld by nation-state institutions from non-Western and decolonial perspectives.

Keywords: archive, violence, entropy, museum, memory

Per conoscere chi si celasse dietro al nome di Emilio Sommariva (1883-1956), affermato fotografo del bel mondo milanese, culturale e imprenditoriale, dei primi decenni del Novecento, ma anche pittore, seppur meno noto, si è rivelato molto utile lo spoglio dello scambio epistolare da lui intrapreso con i pittori Giuseppe Mentessi (1857-1931) e Carlo Fornara (1871-1968), conosciuti in momenti differenti. Il primo lo accompagna nell'apprendimento dell'arte pittorica, tanto amata, ma inizialmente trascurata per necessità economiche; con il secondo, invece, si incontra in Val Vigezzo nel 1928, quando l'uso dei pennelli è già consolidato. Emilio Sommariva nasce pittore prima che fotografo. Egli stesso racconta in una presentazione scritta all'età di sessantasei anni per la sua prima e unica personale tenutasi nel 1950 alla Galleria Ranzini, in via Brera 2 , come, fin da bambino, mentre osservava il padre mettere in atto i rudimenti ricevuti dal pittore delle battaglie risorgimentali Sebastiano de Albertis, avesse subito il fascino della pittura. Il piccolo Emilio, sedutogli accanto, scarabocchiava con impeto e impazienza quelli che ai suoi occhi erano già dei veri e propri quadri. Questo ricordo gli suggerirà, tempo dopo, di scattare una fotografia al figlioletto di Gaetano Previati impegnato nei suoi primi tentativi pittorici.

In this study, the phenomenon of flexibility, which is integrated with the post-Fordist period, is discussed in the context of working relations and intergenerational solidarity relations. In this direction, the effect of flexible working relations on intergenerational solidarity is evaluated. In this context, this thesis aims to understand how this flexibility affects working relations and to analyze the reflections of individuals on intergenerational solidarity relations. For this purpose, the reflections of flexibility on working relations were grounded in the context of post-Fordism. Subsequently, how the flexibility of working relations reflects on the intergenerational solidarity process is discussed in an eclectic structure with the intergenerational solidarity approach of Vern. L. Bengston. In this direction, flexibility process in working relations was built in a relational structure with sub-dimensions of Bengston's intergenerational solidarity approach. Within the framework of this structure, questions of this study were created. Participants were detected with the snowball method. Data was collected with the in-depth interviews which semi-structured questionnaires were used. As a result of this study, it is observed that the flexibility in working relations prevents individuals from involving in existing intergenerational solidarity relations and harms structural sustainability of intergenerational solidarity relations.

Eduardo Gil puts Argentina between brackets. Perhaps that is his way of suggesting that it is not a question of imposing a single, definitive vision, and that we should not infer from the strength of his images, however eloquent and significant they may appear to us, that he has been excessively confident as to the fidelity per se of the documented moment, and that furthermore there is nothing in them that should lead to solid or definitive assertions, manifestos or denunciations, not even based on the gestures, attitudes and circumstances of his subjects that are most clearly typical and identifiable as to the class to which they belong.

Desde hace tiempo, el animalismo y la inteligencia artificial vienen poniendo en cuestion el mundo antropocentrico: los animales y los algoritmos fueron cambiando su estatus, mientras el lugar del ser humano se tornaba mas problematico. Sin una naturaleza adonde volver, el mundo se volvio un artificio humano cada vez mas extrano a los propios humanos.

This poster summarizes a master's degree research conducted within the framework of the Al-Ula Cultural Oasis Project (UCOP), led by Archaïos, funded and steered by the French Agency for AlUla Development (AFALULA) on behalf of the Royal Commission for AlUla (RCU). This research focuses on the uses of photographic documentation for the archaeological study of the Al-Ula oasis as well as on the valorization of its heritage buildings and archaeological sites through the prism of photography. The main objective of this work is to highlight the primary role of archaeological photography for the promotion and mediation of the Al-Ula palm grove. From old photographs of Fathers A. Jaussen and R. Savignac (Figure 1) to aerial photographs for remote sensing, photography is an integral part of the archaeological research process.

From the very beginning of his career in the 1980s Guy Tillim has developed a new approach to photography, as a medium that can reveal the cracks and contradictions in Africa, first during Apartheid and then in postcolonial society. Guy Tillim’s wide-ranging body of work is grounded in documentary photography. With his photographic series, he has added a dimension to contemporary international photography that had not existed before in this specific form: a genuinely African type of street photography. This specific quality is the result of three decades of artistic practice and a continuation of his photographic research in the streets of African metropolises, which started around 2000.
Despite the fact that locations and situations are precisely identified, Tillim does not provide us with any photographic findings that can be exploited journalistically. He draws us into a cycle of interpretations and viewpoints, ways of seeing and interpreting, he forces us to be open to connections and references in a way that converts apparent ‘weakness’ of judgement into the strength of precise and repeated looking. And precisely this justifies calling Guy Tillim’s work, in the words of Paul Valéry, “résistance au facile”, resistance to the easy way.

Este texto apresenta algumas reflexões que vêm sendo desenvolvidas
nos nossos estudos urbanos, já há alguns anos, sobre as imagens e os imaginários da cidade. O filme Retratos fantasmas (Retratos, 2023) serve como lugar de problematização neste ensaio, em que as imagens e os imaginários são tomados como principais elementos de análise e compreensão da percepção e representação da cidade. O território do qual tratamos, apresentado no filme, é associado ao centro urbano e histórico do Recife (PE), um espaço de grande carga simbólica. Partimos do pressuposto de que o entendimento do espaço urbano – sua análise e compreensão – exige que consideremos asimagens produzidas e transmitidas sobre o território. Essa abordagem funda-se na ideia de que a arquitetura, em seu sentido primário, constitui-se como expressão simbólica da subjetividade.

Reveals the significance of photography in modern Jewish history and memory.

Rethinking Jewish History and Memory Through Photography highlights the significant role of photography in modern Jewish history and memory. Considering photographs as unique documents that not only depict reality but also shape how it is perceived and remembered, the volume emphasizes the importance of careful photographic analysis in understanding modern Jewish experiences, self-perceptions, and memories. Bringing together leading and emerging scholars, the book offers a range of innovative approaches to central themes in modern Jewish history, including nationalism, migration, race, and antisemitism. In addition to the discussion of various case studies, a variety of methodological approaches for the current and future use of photoanalysis by scholars are presented.

Combining ethnographic reflections with a visual narrative, this
photo essay explores how underprivileged young men mediate
their masculinity through systems of patriarchy in Nepal. Tracing
young male labourers working in the construction industry in
Kathmandu, the photographer and co-authors reflect on complex
questions of representation and viewer bias, exploring young
Nepali masculinities with a focus on historically marginalised and
equity seeking groups. Modelled on a paradigm of co-creation and
respectful engagement with the representational goals of the
research participants, this project invites readers and viewers to
consider the many ways in which masculinity can be expressed,
inviting a nuanced understanding of gender identity and its societal
impacts in Nepal.

A new checklist of the leaf-beetles of The Netherlands is presented. It is to be used in the European Invertebrate Survey project 'The Leaf-beetles of The Netherlands'. The list is annotated to explain changes in faunistic status and nomenclature since previous lists. A single species, Longitarsus rutilus, is listed here for the first time.

Since the mid-20th century, Western contemporary art has increasingly turned to anthropological theories, methods, and empirical findings. This phenomenon is known as the “ethnographic turn” in contemporary art. Recently, Taiwanese contemporary art has also seen artists adopting various forms of fieldwork and ethnographic methods integrated into artistic practice. However, relevant texts are scattered, and there is a lack of dedicated research and discussion. On one hand, this paper explores the creative methods from the perspectives of relevant artists, and on the other hand, examines artistic practices in Taiwanese contemporary art involving fieldwork. It focuses on unique ways of perceiving the “Other” and the ethical dimensions of aesthetic exploration, as well as a practice of perception . The paper argues that artistic creation in Taiwanese contemporary art involving fieldwork is an exploration of the aesthetic dimensions of perceiving the “Other/Supernatural Other” and its ethical aspects, opening up a perspective that extends the dimensions of differential perception and temporal spatial scales. 在1960年代以後，西方當代藝術開始轉向人類學研究的理論、方法和經驗成果。此一現象被稱為當代藝術的「人類學轉向」或「民族誌轉向」，晚近臺灣當代藝術場域當中，也逐漸出現藝術家以不同形態的田野工作及民族誌方法，結合藝術創作的實踐。然而，目前相關的文本散落各處，鮮少有專文的研究和探討。因此，本文一方面以相關藝術家的觀點，展開對創作方法的思辨；另一方面，則探討臺灣當代藝術繞經田野調查所產生的藝術創作，究竟涉及何種對於「他者」的特異感覺方式及倫理維度的美學探索，以及一種感知的反身性實踐。本文認為，臺灣當代藝術繞經田野調查所產生的藝術創作，實際上是一種對於他／祂者的感知方式及其倫理維度的美學探索，開啟了一種擴延差異感知維度及時空尺度的實踐視野。

EN: This book compiles photographic testimonies from inhabitants of the islands in the Southwestern Indian Ocean. The photographs and accompanying texts were submitted as part of a photo contest organized by the IOC under the EU-funded Intra-ACP GCCA+ Programme.

FR : Cet ouvrage rassemble les témoignages photographiques d’habitants des îles du Sud-Ouest de l’océan Indien. Les photographies et textes rassemblés ont été soumis dans le cadre d’un concours organisé par la COI en 2021 dans le cadre du projet Intra-ACP AMCC+ financé par l’Union européenne.

Collaboration with: Vassen Kauppaymuthoo, Bodonirina Randrianalidera-Cotte, Laurie Castel, Emmanuel Thevenin

Први захтеви за оснивање српске штампарије на територији Хабзбуршке монархије поднети су само осам година после Велике сеобе Срба, 1690. године. Патријарх Арсеније III Чарнојевић, који је предводио Србе током напуштања старе постојбине, упутио је молбу бечком двору, 1698. године, у којој је тражио "да му се уступи пољоприведно добро Сечуј, на десној обали Дунава у Мађарској, како би могао подићи манастир, школе и штампарију". 2 Молба није усвојена али се није одустало од настојања да српски народ у новој држави оствари права на очување и уздизање своје културе и образовања. Уследили су поновни захтеви за добијање царске дозволе за отварање српске штампарије, које су упућивали митрополит Мојсије Петровић (1733. године) "и његови наследници Вићентије Јовановић и Павле Ненадовић". 3 Митрополит Ненадовић је 1751. године добио дозволу да може отворити штампарију у Сремским Карловцима. Ипак, "према мишљењу историчара Радослава Грујића и Николе Гавриловића, штампарија у Карловцима није основана јер су се против 1 Делови увода овог текста су представљени на излагању на стручном скупу у манастиру Велика Ремета "Манастири и библиотеке чувари културне баштине", 2019. године и објављени у Зборнику радова. 2 Лазар Плавшић, Старе српске штампарије од краја XV до половине XIX века (Београд: Издање Удружења графичких предузећа Југославије, 1959), 257. 3 Светозар Борак, "Након пола века у Сремским Карловцима поново Српска манастирска штампарија", Српски Сион бр. 2-3 (1996), 12-14.

Claudia Andujar, sua mirada sobre os deserdados e a centralidade paulistana Yara Schreiber Dines
A fotógrafa imigrante Claudia Andujar no ensaio o "Trem do Diabo"  (1969) foca migrantes que sofreram revéses e retornam de trem para suas cidades de origem. Configura-se como um jogo de espelhos para a fotógrafa trasladada, que acompanha os deserdados para seus territórios primeiros. Já com outras lentes, a fotógrafa passa a considerar São Paulo como o seu espaço, realizando experimentações imagéticas no ensaio sobre a Rua Direita e seus pedestres, muito fecundas nas suas angulações e abordagem, inovadora para os anos 1970. Aborda a metrópole e seus habitantes e pedestres com um olhar incomum no uso da centralidade urbana. Claudia tem o seu foco voltado para o "outro", a alteridade.

I've always been fascinated by photographs, perhaps because I grew up in a house where there were no images of relatives. My parents, Auschwitz survivors, arrived clandestinely in Argentina in 1948 without bringing any tangible memories with them. Family stories were always oral narratives, unaccompanied by photographs. As a child, whenever I saw an abandoned photo on the street, I picked it up. Sometimes, I even placed some in photo frames, inventing names and familial relationships. Over the years, I continued collecting discarded photos from trash bins in Buenos Aires. Sometimes, I found many photos together in a box, accompanied by other personal memorabilia inclusive some ID documents. I wondered who could discard something that, to me, had immeasurable value.

Esta publicación es una iniciativa ciudadana de profesionales del sector audiovisual. Tiene por objetivo ser un documento de consulta y promover la investigación, el diálogo y el cuestionamiento a nuestras formas de ver, hacer y pensar el cine. Recopila información sobre la producción, exhibición y reflexiones de miembros del sector cinematográfico peruano formuladas durante el 2024.

La Photo League ―escisión del grupo primigenio de cineastas y fotógrafos Worker's Camera League creado en 1930 en Nueva York―, fue un colectivo de fotógrafos documentales que operó en Nueva York entre 1936 y 195113. Su trabajo estuvo navegando entre el arte y el activismo político; pero el origen de sus obras siempre estuvo marcado por la crítica social teñida de los ideales comunistas; dicho de otro modo, sus motivaciones estaban alimentadas por el deseo de un cambio social y la creencia de que la fotografía podía influir en la mejora de la sociedad. Su origen recoge el impulso de los grupos alemanes y soviéticos de fotografía obrera que trabajaron, de manera destacada, en Alemania en la revista Der Arbeiter-Fotograf [El fotógrafo obrero] fundada por Willi Münzenberg (1926-1932) y en la URSS la revista Sovetskoe Foto (más tarde Proletarskoe Foto), instrumento de difusión de las organizaciones fotográficas proletarias que dará lugar a la constitución del Asociación Rusa de Fotoperiodistas Proletarios (ROPF) en 1931 (Klein, 2012; p. 11 y Ribalta, 2011)14. Para hacerse una idea de la relevancia de estas asociaciones fotográficas baste mencionar que en 1931 la Unión de Fotógrafos de Alemania contaba con 2.412 miembros y su publicación Der Arbeiter Fotograf tiraba 7.000 ejemplares.

This paper reports on a study aimed to reveal the representation of female sex workers through photojournalism in sex for sale by Yuyung Abdi. Barthes' semiotics is used in order to interpret signs in photojournalism as it is the appropriate theory to exa mine the implicit meaning of verbal and non verbal signs including photography. The chosen photographs were analyzed into three steps of Barthesian semiotics: first level of signification (punctum), second level of signification (studium), and mythologies. The study found that prostitutions, or in this case female sex workers, are considered as having two -sided coin and dilemmatic problem in some aspects. In short, they are represented as two -sided women who act the vicious drama of dilemmatic social, moral, cultural, and economical problems.

Marx, logo no primeiro livro de O Capital, monstrifica a exploração a partir de duas metáforas recorrentes em todo o texto. A primeira é a de que o capitalismo, voraz como um lobisomem, expõe toda sua glutonaria por mais-trabalho ao transgredir não apenas os limites morais do trabalhador, mas também seus limites físicos. São homens, mulheres e crianças que tem seus corpos mutilados, deformados, alienados do contato com a natureza e com a família por conta do apetite pelo lucro (2013, p. 427). A segunda grande metáfora é a do vampiro. Se o sangue é metonímia da própria energia do viver, o capitalque tem como único impulso a devoração, vai drenar a força dos trabalhadores indiscriminadamente para continuar persistindo e se expandindo. O capital é trabalho morto, que, como um vampiro, vive apenas da sucção de trabalho vivo, e vive tanto mais quanto mais trabalho vivo suga. O tempo durante o qual o trabalhador trabalha é o tempo durante o qual o capitalista consome a força de trabalho que comprou do trabalhador. Se este consome seu tempo disponível para si mesmo, ele furta o capitalista (Marx, 2013, p. 392).

Personaje și povești din Bucureștiul Sefard se dorește a fi doar o continuare, a doua poartă deschisă spre o lume ce pare azi de basm, un început, un prim pas care să incite curiozitatea și să convingă cititorul, fie el expert sau doar interesat de istoria orașului, să pornească în căutarea mai multor surse și informații despre prezența și contribuția evreilor sefarzi (dar și a celor ashkenazi, precum și a altor minorități) la dezvoltarea și modernizarea Bucureștiului. Fiindcă în contextul înfloririi, în ultima vreme a ceea ce putem considera o adevărată mișcare culturală pentru readucerea în actualitate a istoriei capitalei, cu numeroase articole, cărți și albume care apar cu o frecvență impresionantă, eforturile și rezultatele ar fi incomplete fără includerea și a acestui aspect, în unele privințe indispensabil, pentru că în unele domenii evreii sefarzi și ashkenazi (și minoritățile în general) au fost deschizători de drumuri. Imagini vechi și noi, povești de succes și istorii cu personaje care populau altădată Bucureștiul sefard îi sunt puse la dispoziție cititorului pentru ca, organizându-le așa cum i se va părea mai bine, să își poată face o imagine de ansamblu asupra acestei lumi astăzi doar virtuale, dar care este încă prea frumoasă pentru a fi dată uitării, căci nu doar sinagogile și clădirile comunitare sefarde au dispărut, ci și sefarzii înșiși; dintre cei care reprezentau odată majoritatea evreilor bucureșteni, astăzi mai sunt doar câțiva, care pot fi numărați pe degete. Lor le este dedicată această carte.

Amici e contemporanei la descrivono come una donna dalla fine intelligenza, brillante e dall'animo gentile. Inge Morath, maestra nelle relazioni come nella fotografia, è stata amata e rispettata da tutti, sentimenti da lei sempre ricambiati nella certezza che le belle cose, siano esse un viaggio in compagnia o un reportage ben eseguito, si costruiscano solo grazie a una profonda sinergia, in un continuo movimento verso l'altro. Socievole per carattere e dotata di grandi capacità comunicative, con lei ogni rapporto, ogni dialogo o semplice scambio di opinioni si trasforma in un'occasione di vicendevole confronto e introspezione. La sua prima passione è infatti per la parola, un interesse che l'accompagnerà per tutta la vita strutturando il suo lavoro di fotoreporter. Nata a Graz, in Austria, nel 1923, a Berlino studia lingue straniere con l'obiettivo di diventare scrittrice e giornalista. Già da adolescente, grazie ai genitori istruiti, subisce fatalmente il fascino della lettura dei classici, delle conversazioni salottiere, delle frequentazioni colte. L'eleganza che la circonda in quei momenti dorati le rimane dentro e più volte, nella sua lunga carriera, ne farà un potente strumento di definizione stilistica, a dispetto di un'opinione corrente che la vorrebbe, in quanto donna e di estrazione alto-borghese, per giunta, incapace di creare alcunché, benché meno immagini fotogiornalistiche originali o suggestive.