Titlebook: Oral History and Photography; Alexander Freund,Alistair Thomson Book 2011 Alexander Freund and Alistair Thomson 2011 America.construction.

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书目名称Oral History and Photography网络公开度学科排名




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书目名称Oral History and Photography被引频次学科排名




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书目名称Oral History and Photography年度引用学科排名




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Spinal-Fusion

Mary Brockmeyer’s Wedding Picture: Exploring the Intersection of Photographs and Oral History Intervsary to be trained to recognize the photographic image.”. Photography theorists Victor Burgin, John Tagg, and Allan Sekula made the same point and suggested a number of critical approaches to “reading” photographs. They argued that although photography in itself was not a language it was nevertheles

legacy

“When I Was a Girl…”: Women Talking about Their Girlhood Photo Collectionsarents, older sisters, and friends. She also included pictures she had taken using her mother’s camera. This magpie collection was added to for a couple of years and then put away. In 1965, 17-year-old Irene similarly began compiling a photograph album. This focused on two summer holidays. Having a

残酷的地方

Imaging Family Memories: My Mum, Her Photographs, Our Memoriesn, a cracked pelvis and had had a fall—but she was rallying; getting better. Then, after four weeks of slow recovery, her body suddenly shut down. She was 90. The medical staff, friends, relatives; we all kept talking about a long life, a good life. It didn’t compensate. She was gone. As so often at

Leisureliness

Remembering, Forgetting, and Feeling with Photographstial experimentations he juxtaposed the identical interview settings, where, in one, photos were introduced and discussed and, in the other, only verbal questions were asked. He found that looking at photographs while reminiscing sharpened memories, reduced misunderstandings, and created longer and

babble

“You Hear It in Their Voice”: Photographs and Cultural Consolidation among Inuit Youths and Eldersnd Inlet, in Nunavut, the Canadian central arctic territory established in 1999. Like all of the case studies discussed in this volume, the interviews that Natasha conducted centered around photographs as memory prompts and sites of social engagement (see Figure 5.1). Natasha recalled:

多产子

Using Press Photographs in the Construction of Political Life Storiesson terms imposed on members of communist organizations in the Adenauer era. His sentence, five years of imprisonment for violating the 1951 ban of the Freie Deutsche Jugend (Free German Youth; FDJ) in West Germany, was widely publicized, and his case became known far beyond the communist movement.

宇宙你

From Propaganda to the Personal: WAVES, Memory, and the “Prick” of Photographyaded the navy’s photography unit, coordinating efforts to present a consistent visual message.. Photographs were sent to newsrooms showing naval personnel in training or on the job. The photographs were especially important in shaping public perception of the navy’s female recruits, the WAVES (Women

filicide

Palate

From Witness to Participant: Making Subversive Documentaryographic documentaries often provide viewers with a sense of “witnessing” an event. Oral histories can likewise be presented as testimony. As witness or as testimony, these forms imply a credibility of experience whereby the event of documentation is transparent, and the artifact (be that a photogra