..". this volume makes a] strong contribution... to rethinking the
limitations and failures of photographic representation and to
challenging our own interpretive assumptions driven by desires to
see and read photographs in certain ways. Rather, as the volume
makes clear in unique and varied sites of research, photographic
meaning and memory, unstable and in constant flux, are marked as
much by forgetfulness and absence as remembrance and presence." .
H-Net
..".the discursive style of each of the chapters highlights the
value of attention to oral histories...There are many chapters
worth investigating in this volume, delivering as it does a
specific methodological clout for the study of memory and its
mutations over time which result in national deliriums, amnesia and
all types of cultural disorders." . Cultural Studies Review
"The successful combination of varied insights, from work on
cultural memory and visual culture to analysis of photographic
acts, makes this a unique collection of essays, an exemplary model
of interdisciplinary scholarship, and a valuable asset to Berghahn
Books' 'Remapping Cultural History' series." . Canadian Journal of
Communication
As a visual medium, the photograph has many culturally resonant
properties that it shares with no other medium. These essays
develop innovative cultural strategies for reading, re-reading and
re-using photographs, as well as for (re)creating photographs and
other artworks and evoke varied sites of memory in contemporary
landscapes: from sites of war and other violence through the lost
places of indigenous peoples to the once-familiar everyday places
of home, family, neighborhood and community. Paying close attention
to the settings in which such photographs are made and used--family
collections, public archives, museums, newspapers, art
galleries--the contributors consider how meanings in photographs
may be shifted, challenged and renewed over time and for different
purposes--from historical inquiry to quests for personal, familial,
ethnic and national identity.
Annette Kuhn is Professor of Film Studies at Lancaster
University, UK, and an editor of the journal Screen. She has
written about photographs in The Power of the Image: Essays on
Representation and Sexuality (1985) and Family Secrets: Acts of
Memory and Imagination (1995). Her most recent book is An Everyday
Magic: Cinema and Cultural Memory (2002).
Kirsten Emiko McAllister is an Assistant Professor of
Communication at Simon Fraser University in Canada. She has written
about photographs, visual culture and museum artifacts in West
Coast Line, CineAction and Cultural Values, and is currently
writing a book on a memorial that marks the site of a World War II
Japanese-Canadian internment camp.
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