Includes bibliographical references and index. Other Form Print version Tagg, John.
Disciplinary frame. View online Borrow Buy Freely available Show 0 more links Set up My libraries How do I set up "My libraries"? Australian National University Library. Open to the public. Reid Library. Deakin University Library.
Log in to Wiley Online Library
Edith Cowan University Library. La Trobe University Library. Bendigo Campus, Heyward Library. Open to the public ; Monash University Library. National Gallery of Australia Research Library.
May not be open to the public Held. Not for ILL. The University of Melbourne Library.
University of Queensland Library. Open to the public ; TR University of Sydney Library. University Library. UNSW Library. Victoria University Library. Parramatta South Campus Library. May not be open to the public ; New Book; Illustrated English Show 0 more libraries Photographs, Tagg ultimately finds, are at once too big and too small for the frames in which they are enclosed—always saying more than is wanted and less than is desired.
Table of Contents. Cover Download Save. Title Page, Copyright Download Save.
Contents p. List of Illustrations pp. Preface pp. Introduction: The Violence of Meaning p. Notes pp.
Find Books - Photography - LibGuides at SUNY New Paltz
Bibliography pp. The New Deal logic of universal social inclusion, in other words, had reached its limit. In this way, it problematizes the limits and conditions of the discursive field of documentary photography and the photographic archive, and it exposes some of the exclusions that they produce. By focusing on the Griersonian- FSA paradigm, Tagg illuminates the structural link between the documentary approach and the liberal democratic public sphere. But this important and necessary discourse is hardly new. But he should be aware that such a focus excludes other practices that may question or invalidate his own conclusions.
The Photo League constitutes a possible counter-model to FSA documentary, and it is part of the many successful attempts in the s to constitute a proletarian public sphere. What if, in other words, we need to reinvent some equivalent but not identical conditions of universality and transparency associated with the classic forms of New Deal documentary, precisely because the documentary social function continues to exist and operate publicly and hegemonically in spite of declarations from academia that it is obsolete?
Documentary is everywhere today, since it is structurally linked to democratic discourse and to the ideological conditions of the liberal public sphere in which we live, as Tagg himself has worked to illuminate. That said, we also need to recognize that documentary practices will continue to exist as long as liberal democracy does.
What do we do with that? Azoulay lives and works in Israel, and her study of photography, particularly in this book, is very much informed by the Israeli-Palestinian conflict. In such a context, photography has demonstrated that it continues to be a key political instrument of emancipation in current social struggles. She thus theorizes photography as a non-essentialist secular agreement among citizens, as defined by modern political philosophy. In the introduction, Azoulay explains that her project is to analyze how photography may contribute to a public and collective space that creates conditions of citizenship and participation beyond the regulation of governing powers.
Within the Frame: The Journey of Photographic Vision
The first chapter is a reading of the Declaration of the Rights of Man and of the Citizen from the French Revolution of as a constitutive document for modern male and female citizens. Chapters 3 and 7 contribute to an understanding of the conditions of consent among partners and the figure of the spectator as an effect of photography.
What makes this book important is the way it changes the conditions for thinking about the public life of the photographic document and opens up a fertile new space to be explored in the future.