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• 1970s: Engagement and Subjectivity: Roland Barthes and the Science of Subjectivity
• From The Family of Man to Families in France : Documentary and Professional Photography
• Mythologies of the Self : Photography in Artistic Practices
• 1980s: Objectivity in a Dematerialized World: Jean Baudrillard : The Era of the Object
• A Quest for Legitimacy as Art
• Staged Photography and the Culture of Simulacra "The Form Tableau" : Photograph as Object and Picture
• 1990s-2000s: The Future of The Photographic Image: Jacques Rancière : Photography as Milieu Forms of Resistance and Participation
• After Photography
• Conclusion: The Landscapes of France: Landscape and the National Imaginary
• The DATAR Photographic Mission : Picturing "le territoire des Français"
• The Anthropogenic Landscape : The Environmental Perspective
• A Sense of Belonging : Territory, Borders, Identity
• Towards a Non-Nationalist History of Photography.

Traces the broad arc of photography's development in France from the 1970s to the present day. A decade-by-decade account reveals unexpected points of convergence between practices that are not usually considered in a comparative perspective. These include photographic practices in contemporary art, documentary, photojournalism, and fashion. Author Olga Smith sets these practices in dialogue with French philosophy -- the writings of Roland Barthes, Jean Baudrillard, and Jacques Rancière -- to produce an innovative study of the intersections between the photographic image, text, practice, and theory. This analysis is guided by an understanding of photography as deeply engaged with historical, cultural, and intellectual events that defined French national experience in the contemporary period. Landscape provides a particular focus to study issues of key significance, including national identification, colonial past, legacies of modernization and environmental breakdown. -- publisher's statement.

"The landscape that surrounds my home in Sweden can be misleading. The bird activity it contains is diluted by the vastness of the flat open land and sky, which gives the impression that very little is going on. In January 2015, with the inkling of an idea that their activity might be more prevalent than I first thought, I decided to try to pull the birds from the sky. On the edge of a field next to a stream I set up a 6 cm-diameter stage in the form of a wooden pillar about one and half metres high. Opposite it I placed another, the same size, on which I mounted a motion-sensor camera. When I visited the camera a few days later, to my surprise, it had worked. The pillar had funnelled the birds from the sky offering them a place to rest, feed, nurse their young, and look around. I was captivated. The images were often chaotic, the birds offbeat and awkward like contortionists, but the shapes and soft lines made by their bodies and wings were arresting. From my kitchen window the pillar appeared like a matchstick in the flat distance yet the absence afforded the birds a greater presence in my mind. Even when I was out of the country I would be imagining the activity on the stage. Most were species I had never seen before, though a few I recognised from my teenage obsession with inner-city bird life, which had been central to my escalating interest in making photographs in Bristol, growing up. My frame of mind making this new work took me right back to those years as if completing a full circle. This new exercise became an accidental way of getting to know both bird behaviour and even individual birds. Some were small, some were large, and some had distinctive personalities, completely vivid, and resembling people I knew. I am very drawn to the shapes presented by birds in flight, birds perched, and those in between the two: claws clenched overhanging the surface of the pillar, translucent feathers splayed to reveal patterns and markings, images as pristine as in an identification book, and those, too, which are battered, wet or windswept. The shapes often conjured images of the birds playing stringed instruments, or wearing cloaks and masks, exercising or screaming. I was also struck by how the relatively fixed pre-composed rectangle of the camera offered a reminder of the infinite variations of a single scene over a period of time, suggesting that nothing happens twice. It is now four years since the project began and the weather-beaten wooden pillar has become moulded into the landscape as if it has always been there. I often think of it like a sundial that occasionally catches the arc of the sun. In the summer months, the dry weather prompts cracks to appear and the pillar becomes brittle. In the autumn the pillar darkens in tone absorbing water again triggering moss to swell and spread. Over time the 6 cm wooden stage has become smoother as if slightly polished by the landing of many feet. The surface grain of the wood is more pronounced where claws have scraped between the growth rings. I have since learned that the region of Skåne, where I live, is home to 192 of the 250 species of birds that are native to Sweden." -- Publisher's website.

• Introduction / Anthony W. Lee, Nick Mauss, and Angela Miller
• The Uses of Photographs / Nick Mauss
• PaJaMa drama / Angela Miller.

• Introduction
• Class A : false strays
• Class B : true strays
• Selected specimens
• Simple vandalism site study
• Complex vandalism site study
• Afterword.
  

• Intro
• Contents
• Introduction
• 1. Scanner
• 2. Phone
• 3. Camera
• 4. Microscope
• 5. Putting it Together
• 6. Image Integrity
• Submitting for Publication
• Gratitude.

"This edited collection presents the first critical and historical overview of photography in Portuguese colonial Africa to an English-speaking audience. Photography in Portuguese Colonial Africa, 18601975 brings together sixteen scholars from interdisciplinary fields as varied as history, anthropology, art history, visual culture and museum studies, to consider some of the key aspects in the visual representation of the longest-lasting European colonial empire in the African continent. The chapters span over two centuries and cover five formerly colonial territories Angola, Cabo Verde, Guinea-Bissau, Mozambique,
and So Tom and Prncipe deploying a range of methodologies to explore the multiple meanings and the contested uses of the photographic image across the realms of politics, science, culture and war. This book responds to a marked surge of international interest in the relationship between photography and colonialism, which has hitherto largely overlooked the Portuguese imperial context, by delivering the most recent scholarly findings to a broad readership." -- Provided by publisher.

• Introduction / Anthony W. Lee, Nick Mauss, and Angela Miller
• The Uses of Photographs / Nick Mauss
• PaJaMa drama / Angela Miller.

"Examining this innovative collaboration as a turning point in the history of photography and in queer American culture. Body Language is the first in-depth study of the extraordinary interplay between photographer George Platt Lynes and PaJaMa (painters Paul Cadmus, Jared French, and Margaret Hoening French). These enigmatic photographs--issuing from intimate private networks and queer sexualities--helped ground friendships and also found their way into the public worlds of fashion and fame. Nick Mauss and Angela Miller offer timely readings of how practices of staging, collaboration, and psychological enactment through the body arced across the boundaries of art and life, private and public worlds, anticipating contemporary social media. For these audacious artists, the camera was used not to capture, but to actively perform. Renouncing photography's conventional role as mirror of the real, Lynes and PaJaMa energized forms of worldmaking via a new social framing of the self"-- Provided by publisher.

• A portrait of the artist
• Public images
• Consuming copies
• A signature look
• Objects of art
• Living pictures/modern art.

"Examines the career of the Gilded Age photographer Napoleon Sarony and his role in the rise of celebrity culture in the United States"-- Provided by publisher.

Spanning 20 years, Liss photographs the Larrakia Country on which their family lives, addressing the inevitable failures of settling stolen land. "I grew up in a rural district on the tropical fringe of the "northern territory", Humpty Doo. Haunted by pictures I took as a teenager (some included in the book) I make photographs of the next generation of my family growing up in this place." Darkly humorous and intimate, with the surrounding savannah environment, Humpty Doom engages with what it means to represent what will always be Larrakia land.--Adapted from publisher's description.