Autobiographical memory and photography have been inextricably linked since the first photographs appeared during the 19th century. These links have often been described from each other's discipline in ways that often have led to misunderstandings about the complex relationships between them. The Handbook of Research on the Relationship Between Autobiographical Memory and Photography covers many aspects of the multiple relationships between autobiographical memory and photography such as the idea that memory and photography can be seen as forms of mental time and the effect photography has on autobiographical memory. Covering key topics such as identity, trauma, and remembrance, this major reference work is ideal for industry professionals, sociologists, psychologists, artists, researchers, scholars, academicians, practitioners, educators, and students.

The mixing of representational modes in handling the medium of Photography has become a prevalent working method in contemporary practice. Renderings that seemingly have pertinence to both the contrived image and the snapshot provoke a particular oscillation in the spectator's mind that is productive of ambiguity. This ambivalence between the realms of 'this-has-happened' and 'this-could-not-have-happened' places the viewer within a mode of perceptual multistability. Giving equal importance to the material condition of a photograph's production (the 'photo-effectic' mode) with that of its aesthetic aspect (the 'photo-graphic' mode), this research utilizes case studies and applies Speech Act theory and Catastrophe theory to enhance our understanding of ambiguity's appearance. Those interested in the fields of Photography theory, Rhetorics and Neuroaesthetics will find in this book interdisciplinary methods upon reading images, while creative practitioners can grasp the import of directorial strategies leading to equivocal imagery.