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Camera Lucida: Reflections on Photography
TLDR
Barthes shares his passionate, in-depth knowledge and understanding of photography in Reflections on Photography as mentioned in this paper, examining the themes of presence and absence, the relationship between photography and theatre, history and death.Abstract:
Barthes shares his passionate, in-depth knowledge and understanding of photography. Examining the themes of presence and absence, the relationship between photography and theatre, history and death, these 'reflections on photography' begin as an investigation into the nature of photographs. Then, as Barthes contemplates a photograph of his mother as a child, the book becomes an exposition of his own mind.read more
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The Australian apology and postcolonial defamiliarization: Gail Jones's Sorry
TL;DR: Gail Jones's new novel Sorry (2007) seeks to allegorize the contemporary settler condition in Australia, especially as its sense of civic integrity is seen to have been compromised by the recent revelations about the Stolen Generations as discussed by the authors.
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Representation as repression: A First Peoples context
TL;DR: In this article, the First Peoples of the Kalahari, commonly known outside Africa as ‘Bushmen’ and in the dominant language of Botswana as Basarwa, are analysed against a series of colonialist representations to demonstrate tangible evidence of the role of representation in both disenfranchisement and an increasing autonomy in the case of the San, who are The First Peoples in Botswana.
Control mapping: Peter Pitseolak and Zacharias Kunuk on reclaiming Inuit photographic images and imaging
TL;DR: In this paper, the authors examine how photographer Peter Pitseolak and filmmaker Zacharias Kunuk have employed photography and film in relation to Raheja's notion of "visual sovereignty" as a process of infiltrating media of representational control, altering their principles to visualize Indigenous ownership of their images.
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Performing the Relational Archive
TL;DR: In this paper, the authors address the recent changes in archival practices and discourse, and their implications for documentary photography and photographic theory, and examine the severing of the links between photographic images and the events they document in the photographic theory of the late 1970s and 1980s.