Filip Mitricevic, "The Ways in Which I Never Thought About My Great-Grandfather: An Essay on the Potentials of Photography as a Historical Document," Currents of History 3/2020 (2020), 247-268. (original) (raw)

The Ways in Which I Never Thought About My Great-Grandfather: An Essay on the Potentials of Photography as a Historical Document∗

Tokovi istorije, 2020

This paper is on the trail of answering the theoretical question of the potential of photography as a historical source. The paper does not aim for a historical reconstruction in the classical sense but is an attempt to show the reach of this visual media in historical research, based on the correlation of a sample of family photographs, oral history, and theory. By employing the author’s “personal voice,” the paper attempts to correlate particularities with a broader context and general theory. The author uses photographs of his great-grandfather, made at a prisoner-of-war camp during the World War II, to show the limitations of photography as a historical source.

In Pursuit of the Unknown: Photography & the Artifact of Nostalgia

This paper focuses on building a conceptual framework for looking at contemporary photographic methods through the lens of historical process within the medium; its relationship to the fields of science and technology, how society’s relationship with photography has changed, and why process is not as valued today but continues to have relevance. It is also a defense for reimagining how we can approach the medium in a more holistic way, while still generating relevant and contemporary dialogue about a medium that is rapidly being replaced by it’s digital successor. My concern is that the issue of what is lost, as we barrel into the future, further and further away from the tactile and hand-made image, is that our critical thought of the past, present and future is not considering the contexts of those times respectively, lacking the universal perspective to analyzing over-arching modes of image making. What I attempt to do in the following pages is take a step back from the standard, polarized view of the differences between “then” and “now”, and elucidate the modes of common thought that continue to inform visual culture. To look holistically at the photographic, outside of time, at the objective agenda of why we make what me make.

The Use of Photography as a Mode of Social and Historical Investigation

Critique d’art

American Readers at Home by Ludovic Balland, Against Photography by Akram Zaatari and Qu'est-ce qui est différent ? by Wolfgang Tillmans all have in common the fact they consider photography as a decisive element in the construction of histories, while also integrating it into the narrative chain text is also part of. Akram Zaatari and Wolfgang Tillmans both include pre-existing photographs in their work, thus questioning the medium per se. This is a far cry from the unique, context-less photograph admired as if on an altar, following the probable desire of Roger Théron, the ex-editor-in-chief of Paris Match, a tabloid now controlled by Matra, a weapon manufacturer. Théron recommended that the magazine's photographers should go study the old masters at the Louvre. All three of the artists discussed here have in common the urgent need to take action in the present. Ludovic Balland and Wolfgang Tillmans lead their investigation in Western countries, where, in the past two or three years, authoritarian, nationalistic and discriminating political movements have rocketed. In a completely different context (Lebanon and its neighbouring countries), Akram Zaatari questions current affairs through old photographs. All three use photography as an instrument in the field of politics. The Use of Photography as a Mode of Social and Historical Investigation Critique d'art, 51 | Automne/hiver Recently, the exhibition Zerrissene Gesellschaft: Ereignisse von langer Dauer [Torn Society: Long-Term Events], curated by Anne König and Jan Wenzel 3 , had a starting point The Use of Photography as a Mode of Social and Historical Investigation Critique d'art, 51 | Automne/hiver

Pictures of the past: Benjamin and Barthes on photography and history (Tim Dant & Graeme Gilloch)

European Journal of Cultural Studies, 2002

This paper explores the key moments in Benjamin's and Barthes's analyses of the cultural significance of the photograph. For Benjamin these are; the optical unconscious, the transmission of aura, the representation of cultural and political decay and proto-surrealist political commentary. For Barthes they are; the techniques of the photographer, the studium, the punctum and the ecstasy of the image. These rather different approaches to photography reveal a common concern with history. Both authors have written about the nature of historical understanding and photography has provided both with a powerful metaphor. What emerges from their analyses of photographs is that each evokes a double moment of historical awareness; of being both in the present and in the past. For Benjamin this is the 'spark of contingency' with which the aura of past existence shines in the present. For Barthes it is the 'ça-a-été', the emotional stab of awareness that what is present and visible in the photograph is irretrievably lost in the past.