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Critics devoted to the study of family photography have privileged the materiality of this phenomenon. Approaches have largely examined the printed materials themselves, preferring a semiological close reading of noteworthy images (69). Rose notes an oversight in the scholarship on photography, and insists that family photographs cannot be defined simply by their visual content (74). … Continue reading
Attempting to establish – while acknowledging the paradox of – an eidetic science of (P)hotography, Barthes recounts an “ontological desire” that informs his critical framework (3, my emphasis). That is to say, Barthes introduces affect into structural modes of analysis. Camera Lucida reconciles historical, philosophical criticism with a subjective, experiential phenomenology. Barthes details the difficulty … Continue reading
A few weeks ago, class discussion led to the question as to whether or not a technological artifice – in this case, camera technology from the mid 20th century onward – can be inherently racist (and, by extension, be considered in a number of other hierarchical antagonisms such as classist, sexist, ableist, and so forth). … Continue reading
Rhetoric of the Digital Image 