Revolution at a Standstill: Photography and the Paris Commune of 1871

Przyblyski, Jeannene M.

doi:10.2307/3090606

Cited by 22 publications

(3 citation statements)

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“…These images were then used to identify those insurgents left at large in the wake of the Commune's suppression. Scholars identify these photographs as an important milestone along the path of the technology's progressive refinement as a tool of social oversight and regulation (Tagg 1988;Przyblyski 2001). Ironically, the images of the Communards simultaneously served to enable the constitution of a revolutionary movement in opposition to the state through the glorification of the barricades and to allow for identification and repression.…”

Section: Photography and Anxiety: Surveillance And Controlmentioning

confidence: 97%

No Credible Photographic Interest: Photography restrictions and surveillance in a time of terror

Palmer

Whyte

2010

Philosophy of Photography

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This article examines the consequences for the res publica of the simultaneous increase in state surveillance and the restriction of the right to take photographs in public ushered in by the 'War on Terror'. We draw on Ariella Azoulay's theorization of what she terms the 'civil contract of photography', or the possibility for nonstate civic interaction allowed by the invention of the camera. While Michel Foucault's studies of the role of constant surveillance in disciplinary societies help us to understand our increasingly panoptical public spaces, Azoulay also draws on Giorgio Agamben's theorization of the 'state of exception', which enables us to better understand the restriction of established rights, including the right to take photographs, in the post-9/11 context. The article asks whether these developments signify an attempt to monopolize the decision as to who constitutes the 'citizenry of photography', and also considers artistic and political responses to surveillance and photography restrictions in Australia and the United Kingdom.

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Section: Photography and Anxiety: Surveillance And Controlmentioning

confidence: 97%

No Credible Photographic Interest: Photography restrictions and surveillance in a time of terror

Palmer

Whyte

2010

Philosophy of Photography

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“…The photograph in question here suggests, however, that citizen-produced photographs of conflict did more than provide visual records. As it 6 See (English 1984) and (Przyblyski 2001 (Baladi 2014, p. 66). 9 (Azoulay 2011).…”

Section: Photography Social Media and Revolutionmentioning

confidence: 99%

Reconsidering the Image of the Blue Bra: Photography, Conflict, and Cultural Memory in the 2011–2013 Egyptian Uprising

Linssen¹

2018

Humanities

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Abstract:The role of photography and social media have been seen as pivotal to the Egyptian political uprisings of 2011 where icons of the revolution circulated widely, helped galvanize protesters, and documented key events against the backdrop of a rapidly shifting discourse of photojournalism. By examining the citizen-produced image of the 'girl with the blue' in its capacity to reflect the spatial-temporal dynamics of the revolution, to mediate complex social issues of gender and political visibility, and to contribute to the development of cultural memory role through contemporary street art, this essay uncovers the significance of an icon in the digital age.

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“… 2 2 The online version of the seminar’s text claims to be the same photo displayed in the final sequence of Jean‐Marie Straub and Danièle Huillet’s Introduction to Arnold Schönberg's Accompaniment to a Cinematic Scene (1972), and that it was taken by Nadar. However, the photograph in question has traditionally been attributed to André‐Adolphe‐Eugène Disdéri, but Costa’s description matches it: “The first photograph shown to the world in newspapers was of the corpses of the Paris Commune, it showed the bodies of the Communards.” See in this respect Lapostolle (1988) and Przyblyski (2001). …”

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confidence: 99%

Pedro Costa’s realism of the poor

Valente

2021

Orbis Litterarum

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Portuguese filmmaker Pedro Costa has over the years pictured the lives of immigrants from Cabo Verde in Lisbon, in In Vanda’s Room (No Quarto de Vanda, 2000), Colossal Youth (Juventude em Marcha, 2006), Horse Money (Cavalo Dinheiro, 2014), and more recently Vitalina Varela (2019). His portrayal of impoverished Black communities in Fontainhas, a slum in the outskirts of the capital, uses the style of art cinema to portray how his protagonists are excluded from Portuguese society. His work features non‐professional actors, mixing documentary techniques with a highly aestheticized approach. This has led several critics (Pantenburg, 2010; Guarneri & Costa, 2015; Fajgenbaum, 2019) to describe Costa’s films as realist, emphasizing links between formal and material aspects of his work and how they relate to a manner of political engagement. In this article, I trace the discourse on realism in Costa up to the present day, leading to an assessment of how his most recent film, Vitalina Varela, relates to his past practice. The concept of “cosmopolitanism of the poor,” coined by Silviano Santiago ([2008] 2017), is introduced in order to read Costa’s films as engaging in a form of realism that appropriates high art to tell stories of migration and poverty in a postcolonial context.

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Revolution at a Standstill: Photography and the Paris Commune of 1871

Cited by 22 publications

References 0 publications

No Credible Photographic Interest: Photography restrictions and surveillance in a time of terror

No Credible Photographic Interest: Photography restrictions and surveillance in a time of terror

Reconsidering the Image of the Blue Bra: Photography, Conflict, and Cultural Memory in the 2011–2013 Egyptian Uprising

Pedro Costa’s realism of the poor

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