...Ariella Azoulay The growing literature and catalogs on photographic collaboration, participation, and collectivity, which are part of the proliferation of artistic projects that assert collaboration as their goal, still mainly focus on photographers who initiate collaborative projects. The...

... schoolgirl — for the collocation of chronological and nonchronological times with the heterogeneous spaces of diaspora. But the diasporic archive that is this calendar also illumines for us certain media for ensuring a beloved body's continued presence, the photograph and also the calendar being formal...

... a reading of Born into Brothels , an award-winning film documenting the codirector and photojournalist Zana Briski's humanitarian project to emancipate the children of prostitutes in India by training them in photography and creating avenues for them to sell their own photographs of brothel life. A...

..., be attached to skin pigmentation but indicates instead the body's extension beyond itself into the social sphere. With a close analysis of a variety of visual texts, ranging from the shadow of a lynched body in a 1930s NAACP (National Association for the Advancement of Colored People) photograph, to...

...Janet Bergstrom For this interview, cinematographer, photographer, and filmmaker Babette Mangolte agreed to focus on her collaborations as cinematographer with Belgian filmmaker Chantal Akerman on her 1970s New York films. Besides Jonas Mekas and Anthology Film Archives, Mangolte brought in the art...

... not the smoking guns they seemed to be. They suggest that photographs must always be considered in the light of what we know about the situation of their taking and that very often, as in the torture death of Manadel al-Jamadi, the real incriminating photo does not exist, though an eloquent picture of...

... Alexanderplatz. Ultimately these figures make up one vast composite character, a combinatory form that echoes the superimposed photographs from the Weimar era that appear in the miniseries's credit sequence. Both the credit sequence and the serial women offer ways of representing Germany's past as a variegated...

... visual possibilities of the graphic genre. Mapping Bechdel's coming-of-age story as a narrative about coming to see, this article traces the importance of vision in young Alison's gender identity, her relationship to her father, and her ability to posthumously “see” her father through family photographs...

... in worn-out photographs, cinematic reconstructions of lost urban scenery, and even recent repairs of ancient palaces and streets, and suggests how the discursive space that is Seoul accommodates the negativity that buttresses the historical narrative in Korea. Kyoung-Lae Kang received her PhD from...

.... Interlacing early twentieth-century psychological literature, sociological studies, and materials published in film fan magazines, industry trade publications, and general newspapers with girls' own fan letters and photographs, the author maps the ways in which imitation became a source of agency and pleasure...

...Huey Copeland Over the last two decades, American artist Zoe Leonard (b. 1961) has emerged as one of the most visually attuned photographers of her generation, using images as a means of documentation, invention, remembrance, and critique. Regardless of the sites and objects on which she trains her...

... meanings of humanity. Popular among contemporary participatory documentary interventions aiming to empower dehumanized subjects such as impoverished children, disaster victims, disabled individuals, and endangered animals, immediations include tropes such as the photographic aesthetic of innocence, the...

... recombination, finds itself reworked with the more European concern with narration and fiction. Mangolte begins the conceptualization of her films from a very literal notion of “point of view”: as a photographer and cinematog- rapher, her first concern has always been the physical placement of the...

... reckonings. Robert Bresson’ The photograph seems the paradigmatic image. And the image is cur- rently the paradigm of the work of art, conceived of as the subjective, the intentional, from two points of view which converge in our so- phisticated...

... substituted for the filmic preface-a photograph. It is around this photograph, a snapshot of the replicant Rachel with her mother, that the oppositional economy that this film has established between humans and replicants trembles and falters. This photograph is central to the film’s treatment...

... mm) Edda Chiemnyjewski is an independent newspaper photographer in West Berlin. In order to support herself and her small daughter, she sells her photographs to the editors of various newspapers. She finds the demands of her daughter, her work, her friends, daily life...

... ago at P.S. 1 (The Institute for Art and Urban Resources, in Long Island City). The poster is itself an enlarged photographic reproduction of a press photograph (Agence France-Presse) on the top of which the exhibition title has been superimposed, and at the bottom, in smaller typeface...

... was once West Berlin. Boltanski, having discovered pieces of the Grosse Ham- burger occupants’ lives (documents, photographs, and possessions), displayed his research in 12 glass cases in another war-torn ruin: the completely overgrown site of a former museum, Unlike...

... my interest in film, I discovered new interests with still photography - performing arts, dance, theater, like Richard Foreman (which was the first thing I made photographs of in New York). It was only when I arrived in New York and had to earn a living that I started to do still photography...