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Sheppey today
Graham Crow and Jaimie Ellis

Photographs of Sheppey The now closed steel mill at Sheerness, part of Sheppey’s deindustrialisation story A car transporter leaves Sheerness docks, passing the disused Dockyard Church A faded advertisement for the Co-op, a reminder of Sheerness’s Co-operative past An assortment of vessels in Queenborough Creek at low tide Holiday chalets still form an important part of Sheppey’s tourism economy

in Revisiting Divisions of Labour
Alessandra Antola

11 Photographing Mussolini Alessandra Antola Mussolini was the first European political leader to be extensively photographed, with his image reproduced in newspapers, posters, postcards, offices and public buildings. The ubiquity of his image ensured that his face, gestures and physical presence were immediately recognisable, even though only a limited number of people ever saw him in person, let alone in close proximity. Consequently his photographs, being accessible, transferable, portable and mass-produced, became the principal medium for the circulation of

in The cult of the Duce
An interview with Leslie Ureña
Bénédicte Miyamoto and Marie Ruiz

Date of interview: 8 March 2019 Leslie Ureña is associate curator of photographs at the Smithsonian’s National Portrait Gallery. She received her PhD and MA in Art History from Northwestern University. Her dissertation, ‘Lewis Hine at Ellis Island: The Photography of Immigration and Race, 1904–1926’, investigated how Hine’s photographs of newcomers shaped and were shaped by competing discourses on race in America. She has a BA in Art History from Yale University.  Previously, Leslie Ureña was a curatorial research associate and research assistant in the

in Art and migration
The auteur as an ekphrastic ghost
Maaret Koskinen

It is well known that Ingmar Bergman’s films make ample use of photographs and that these serve various functions in his works. For example, in his article entitled ‘The Holocaust in Ingmar Bergman’s Persona : The Instability of Imagery’, Peter Ohlin unravels the many uses and contexts connected with the photograph of the little boy in the Warsaw ghetto used by Bergman in the film. Similarly, Linda Haverty Rugg has shown how photographs in Bergman’s films also comprise important components in his

in Ingmar Bergman
Notes on developing a photo-ethnographic practice in Basilicata
Lorenzo Ferrarini

There are a number of reasons why photo-ethnography, understood as ‘the use of still photography as a means of … presenting ethnographic information and insight’ (Wright 2018 : 1), is not nearly as developed in both practice and theoretical reflection as ethnographic documentary (Edwards 1997 : 53). As remarked by Wright, while most ethnographers carry and use a camera during fieldwork, the production of photo-ethnographies is very limited. A few ethnographers have, in the past, tried to develop arguments visually by making extensive use of photographs in

in Sonic ethnography
Clive Scott

4003 Baxter-A literature:Layout 1 9/9/13 13:03 Page 203 11 STILL LIFE, PORTRAIT, PHOTOGRAPH, NARRATIVE IN THE WORK OF W. G. SEBALD1 Clive Scott Early on in Austerlitz, we are given a good idea of Sebald’s photographic orientations in Jacques Austerlitz’s own account of his photographic practices at school, Stower Grange (Figure 11.1): In der Hauptsache hat mich von Anfang an die Form und Verschlossenheit der Dinge beschäftigt, der Schwung eines Stiegengeländers, die Kehlung an einem steinernen Torbogen, die unbegreiflich genaue Verwirrung der Halme in einem

in A literature of restitution
John Harries, Linda Fibiger, Joan Smith, Tal Adler, and Anna Szöke

This article will query the ethics of making and displaying photographs of human remains. In particular, we will focus on the role of photography in constituting human remains as specimens, and the centrality of the creation and circulation of photographic images to the work of physical anthropology and bioarchaeology. This work has increasingly become the object of ethical scrutiny, particularly in the context of a (post)colonial politics of recognition in which indigenous people seek to recover dominion over their looted material heritage, including the remains of their dead. This ethical concern extends to the question of how and under what circumstances we may display photographs of human remains. Moreover, this is not just a matter of whether and when we should or should not show photographs of the remains of the dead. It is a question of how these images are composed and produced. Our discussion of the ethics of the image is, therefore, indivisible from a consideration of the socio-technical process by which the photographic image is produced, circulated and consumed.

Human Remains and Violence: An Interdisciplinary Journal
Chris Perkins and Martin Dodge

Visual representations have often played a crucial role in imagining future urban forms. In the aftermath of the Second World War, a noteworthy new genre of urban plan was published in Britain, most deploying seductively optimistic illustrations of ways forward not only for the reconstruction of bomb-damaged towns and cities but also for places left largely undamaged. Visual representations have often played a crucial role in imagining future urban forms. In the aftermath of the Second World War, a noteworthy new genre of urban plan was published in Britain, most deploying seductively optimistic illustrations of ways forward not only for the reconstruction of bomb-damaged towns and cities but also for places left largely undamaged. This paper assesses the contribution of visual elements in this,process with a detailed case study of the maps, statistical charts, architectural drawings and photographs enrolled into the 1945 City of Manchester Plan. The cultural production of these visual representations is evaluated. Our analysis interprets the form, symbology and active work of different imagery in the process of reimagining Manchester, but also assesses the role of these images as markers of a particular moment in the cultural economy of the city. This analysis is carried out in relation to the ethos of the Plan as a whole.

Bulletin of the John Rylands Library
David Leeming and Magdalena J. Zaborowska

Sedat Pakay, whose name will always be associated with the most intimate portrayals we have of James Baldwin, died on 20 August 2016 at his home in Claverack, NY. Sedat was born in Istanbul, Turkey, where he graduated from Robert College. He studied at the Yale School of Art under Walker Evans, Paul Strand, and Herbert Matter and became a successful photo-journalist and filmmaker. His subjects for photographic portraits included Andy Warhol, Mark Rothko, Josef Albers, Gordon Parks, and, especially, James Baldwin. Pakay’s best-known films are Walker Evans/America (2000) and, as all Baldwin scholars and friends know, James Baldwin: From Another Place, filmed in Istanbul in 1970.

James Baldwin Review
Open Access (free)
Lewis Hine’s Photographs of Refugees for the American Red Cross, 1918–20
Sonya de Laat

citizenry of photography. From June 1918 to April 1919, the American photographer Lewis Wickes Hine made photographs of refugees and other European civilians affected by World War I while working overseas for the American Red Cross (ARC). Refugees emerged as a new humanitarian subject in direct result of the changing global order that came with World War I. Hine’s photographs and the ARC’s use of them, both shaped and restricted public imagination with regard to refugees, and international spectators’ responses to them. Here, I explore Hine’s refugee photographs and more

Journal of Humanitarian Affairs