Photography : a cultural history
- Marien, Mary Warner.
- 3rd ed.
- Upper Saddle River, NJ : Prentice Hall, c2011.
- Physical description
- xv, 552 p. : ill. (some col.) ; 30 cm.
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TR15 .M273 2011 F
- Unknown TR15 .M273 2011 F
- Includes bibliographical references (p. 541-544) and index.
- Preface X Introduction XIII Part One Photography's Double Invention 1 Chapter One The Origins of Photography (to 1839) 3 Before Photography 4 Technological and Artistic Forebears 4 The Invention of "Photographies" 7 Antoine Florence and the Question of Simultaneous Invention 7 Focus: The First Photograph 8 The Problem of Permanence: Wedgwood and Davy 9 The "Sun Writing" of Niepce 10 The Collaboration of Niepce and Daguerre 12 Daguerre and the Latent Image 13 Responses to the Announcement of the Daguerreotype 16 Bayard's Direct Positive Process 16 Herschel's "Photographic Specimens" 17 Focus: The Stranger 18 Talbot's Photogenic Drawing 19 The Politics of Invention 22 Retake 23 Chapter Two The Second Invention of Photography (1839-- 1854) 25 The Second Invention 25 Focus: Iron, Glass, and Photography 29 Talbot and The Pencil of Nature 30 Bayard: The Doubting Camera 31 Photography and the Sciences 32 The Microscope and the Telescope 32 Biology 34 Anthropology and Medicine 35 Focus: Photography, Race, and Slavery 38 Performing History? The Dr. Morton Controversy 39 Recording Events with the Camera 40 War and Photography 43 Imaging War 43 Focus: The Mexican--American War 44 British Conflicts in Asia 45 Expeditionary and Travel Photography 46 Egyptand the Holy Land 46 The Historic Monuments Commission 52 Portraiture and the Camera 58 Coloring the Image 61 The Photography Studio 62 Celebrity Photography 65 The Firm of Southworth and Hawes 66 The Calotype Portrait: Hill and Adamson 66 Focus: The First Police Pictures? 70 The Reality Effect 71 Photography and Fiction 71 Retake 73 Philosophy and Practice: A Threat to Art? 74 Part Two The Expanding Domain (1854--1880) 76 Chapter Three Popular Photography and the Aims of Art 79 Photographic Societies, Publications, and Exchange Clubs 79 The Stereograph 80 The Carte-de-Visite 83 Art and Photography 83 Art Reproduction 83 Photography as a Fine Art 84 High Art Photography 87 Focus: Lewis Carroll's Photographs of Children 91 Women Behind the Camera 92 Women as Amateurs 92 Portrait: Julia Margaret Cameron 94 Women as Professionals 96 Retake 97 Chapter Four Imaging of the Social World 99 War and Photography 99 The Crimean War 100 Roger Fenton 100 Focus: The Valley of Death 101 James Robertson and other Crimean Photographers 103 The American Civil War 104 The Effect of the War on Photography 105 Portrait: Mathew Brady 106 Portrait: Alexander Gardner 110 The Civil War and Remembrance 112 Later Conflicts 113 The War of the Triple Alliance, South America 113 The Franco--Prussian War and the Paris Commune 114 "Small Wars, " Colonial Expansion, and Photography 116 India117 China120 Japan124 Photography in the Middle East 126 Topographical Surveys and Photography 127 The Abyssinian Campaign, or the Magdala Expedition 129 Desire Charnay and Expeditionary Photography 129 The 49th Parallel Survey 130 Government Surveys in the United States 131 Photography and the Transcontinental Railway 132 Timothy O'Sullivan and Survey Photography 133 Preservation of the Wilderness: Yellowstone and Yosemite 134 War and the Photography of Native Americans 138 The Modoc War 138 The Fort Laramie Treaty 140 Little Big Horn 141 Retake 141 Chapter Five Science and Social Science 143 Photography and the Social Sciences 143 Ethnographic Studies and Display 143 Orientalism 145 "Dying cultures" 147 Popularizing Ethnic and Economic Types 148 Photographic Studies of Human Expression 151 Duchenne de Boulogne 152 Darwin153 Charcot 154 Photography in Medicine and Science 154 Photomicrography and Astronomical Photographs 156 Retake 159 Philosophy and Practice: "Superseded by Reality" 160 Part Three Photography and Modernity (1880--1918) 162 Chapter Six The Great Divide 165 Mass Media and Mass Markets 165 "You press the button--We do the rest" 168 The Postcard Craze 169 The Challenge for Art Photography 170 Naturalistic Photography 170 Pictorialism 172 Movements and Magazines 174 The Photo-Secession 181 Portrait: Alfred Stieglitz 182 Portrait: Edward Steichen 184 The Nude and Pictorialism 187 Women in the Pictorialist Movement 188 Portrait: Gertrude Kasebier 190 Anthropological Pictorialism 193 Non-Pictorialist Visions 195 Pictorialism: A Conservative Avant-Garde 196 Retake 201 Chapter Seven Modern Life 203 The Modern City 203 Social Reform Photography 204 Portrait: Jacob Riis 206 Portrait: Lewis Hine 207 The Ideal City 209 Science and Photography 210 The Photography of Movement 210 Focus: Photography and Futurism 212 Photography and the Invention of Moving Pictures 214 The X-Ray 214 Focus: Worker Efficiency: The Gilbreths' Time and Motion Studies 215 Photography, Social Science, and Exploration 216 Photographing Africa 217 Focus: The National Geographic 219 Photographing the Pacific Paradise: Samoa 220 Criminal Likenesses 220 War and Revolution 224 The Spanish--American War 224 World War I 226 The Russian Revolution 228 Retake 229 Philosophy and Practice: The Real Thing 230 Part Four A New Vision (1918--1945) 232 Chapter Eight Art and the Age of Mass Media 235 Photojournalism 235 Revolutionary Art: The Soviet Photograph 238 Dada and After 242 Moholy-Nagy and the Bauhaus 245 Focus: Photomontage or Photocollage 246 Paris--Berlin--Prague 249 Dada and Paris 249 Dada and the Machine Age in New York 250 Surrealist Photography 253 Experimental Photography and Advertising 260 Focus: Film and Photography 262 Experimental Photography as Style 265 California Modern 268 Retake 277 Chapter Nine Social Science, Social Change, and the Camera 279 The Origins of Documentary 279 The Farm Security Administration 280 Portrait: Margaret Bourke-White 286 Other Documents 288 Transforming the Social Documentary 289 Portrait: August Sander 291 Worker Photography 292 Popular Science/Popular Art 296 World War II 299 War and Photography 302 Retake 308 Philosophy and Practice: The "Common Man" and the End of Media Utopia 309 Part Five Through the Lens of Culture (1945--1975) 310 Chapter Ten The Human Family 313 The Family of Man 313 Cultural Relativism and Cultural Resistance 314 Focus: Making an Icon of Revolution 316 Central and South America 317 Braziland Argentina 320 Mexico321 Africa323 Portrait: Manuel lvarez Bravo 324 Asia328 India328 Japan330 Photographing the Atomic Bomb 332 Portrait: Shomei Tomatsu 334 Retake 337 Chapter Eleven The West and the Cold War 339 Annihilation, Alienation, Abstraction: America 341 The Americans 344 On the Streets 347 The Social Landscape 349 Suburbia 354 Technology and Media in Postwar America 358 Color Photography and the Polaroid Process 358 Television, Photojournalism, and National Events 364 Photography in Art 372 The Czar's Pantheon 383 Retake 389 Philosophy and Practice: Purity and Diversity 390 Part Six Convergences (1975 to the Present) 392 Chapter Twelve Globalism, Technology, and Social Change 395 Photography and the Global Experience 395 Photography, Nature, and Science 401 Post-Photography 405 The End 405 Everything Old is New Again 407 Face Value 415 The Predicaments of Social Concern 416 The Color of Concern 422 Neutral Vision 423 Portrait: Sebastiao Salgado 426 Focus: The Cambodian Genocide Photographic Database 433 The Look of Politics 434 Retake 435 Chapter Thirteen The Postmodern View 437 The New Social Documentary 437 Thinking Photography 441 The Postmodern Era 442 Postmodernist Photography 443 Art Photography and Photography-by-artists 444 Blurring the Subject 445 Feminism and Postmodern Photography 450 Constructed Realities 452 Focus: Culture Wars 454 Family Pictures 462 Extended Family 466 Focus: Looking at Children 474 Nature and the Body Politic 477 Enter Fashion 486 The Passing of Postmodernism 490 Retake 491 Chapter Fourteen Into the Twenty-First Century 493 War and Photography 493 The Space and Time of Memory 494 Soldiers 494 The Past in the Present 497 Slide Shows 497 Screens 498 The Medium of the Moment 498 Photographic Practice and Globalization 503 Global/Local 505 The Arab World 507 Focus: China508 Youth and Beauty 510 Science and Society 513 The Animal Kingdom 514 Screens and Platforms 516 Retake 517 Philosophy and Practice: Re-Membering 518 Epilogue 519 Glossary 520 Picture Credits 524 Timeline 526 Notes 531 Bibliography 541 Index 545.
- (source: Nielsen Book Data)
- Publisher's Summary
- For one or two semester courses in the History of Photography. Mary Warner Marien has constructed a richer and more kaleidoscopic account of the history of photography than has previously been available. Her comprehensive survey shows compellingly how photography has sharpened, if not altered forever, our perception of the world. The book was written to introduce students to photography. It does not require that students possess any technical know-how and can be taught without referring to techniques in photography. Incorporating the latest research and international uses of photography, the text surveys the history of photography in such a way that students can gauge the medium's long-term multifold developments and see the historical and intellectual contexts in which photographers lived and worked. It also provides a unique focus on contemporary photo-based work and electronic media.
(source: Nielsen Book Data)
- Publication date
- Mary Warner Marien.