Photography Reframed

At a critical point in the development of photography, this book offers an engaging, detailed and far-reaching examination of the key issues that are defining contemporary photographic culture. Photography Reframed addresses the impact of radical technological, social and political change across a diverse set of photographic territories: the ontology of photography; the impact of mass photographic practice; the public display of intimate life; the current state of documentary, and the political possibilities of photographic culture. These lively, accessible essays by some of the best writers in photography together go deep into the most up-to-date frameworks for analysing and understanding photographic culture and shedding light on its histories. Photography Reframed is a vital road map for anyone interested in what photography has been, what it has become, and where it is going.

Ben Burbridge is Senior Lecturer in Art History and Co-Director of the Centre for Photography and Visual Culture at the University of Sussex. He is widely published in the field of photography, art and politics. Curatorial projects include the 2012 Brighton Photo Biennial, Agents of Change: Photography and the Politics of Space and Revelations: Experiments in Photography (Science Museum, London and National Media Museum, Bradford, 2015).Annebella Pollen is Principal Lecturer and Academic Programme Leader in the History of Art and Design at the University of Brighton. She is widely published in the field of visual and material culture. She is the author of The Kindred of the Kibbo Kift: Intellectual Barbarians (2015), Mass Photography: Collective Histories of Everyday Life (I.B.Tauris, 2016) and co-editor of Dress History: New Directions in Theory and Practice (2015).

Photography Reframed: Always, Already, Again, Ben Burbridge and Annebella PollenSection I. New Ontologies: Photography between the Archive and the Network1. Technology and Interaction: Penelope Umbrico's TVs from Craigslist, Duncan Wooldridge2. Post-representational Photography, or the Grin of Schrödinger's Cat, Daniel Rubinstein3. Archival Measures: Photography Collections in a New Media Age, Tina Di Carlo4. The Grain of Ephemera/Event: Thinking Digital Archive through Photography, Sen Uesaki and Jelena Stojkovic5. Tomorrow's Headlines Are Today's Fish and Chip Papers: Some Thoughts on 'Response-ability' David Campany interviewed by Duncan WooldridgeSection II. Mass Culture and the Politics of Distinction6. Popular Photographic Cultures in Photography Studies, Gil Pasternak7. The Photographer as Reader: The Aspirational Amateur in the Photo-Magazines, Peter Buse8. Mrs Wagner's Aspirations: The Album as Monument, Martha Langford9. When is a Cliché not a Cliché?: Reconsidering Mass-produced Sunsets, Annebella PollenSection III. (Networked) Society and the Spectacle: Photography and Exhibitionism10. The Shirt Off His Back: Male Torsos on Display in Contemporary Visual Culture, Marvin Heiferman11. The Politics of Amateurism in Online Pornography, Feona Attwood12 What a Body Can Do: From the Frenzy of the Communicative to the Visual Bond, Francis Summers 13. Hating Habermas: On Exhibitionism, Shame and Life on the Actually Existing Internet, Theresa M. Senft14. Paradise Lost: Exhibitionism and the Work of Nan Goldin, Ben BurbridgeSection IV. Documentary Photography and Global Crisis15. The Déjà Vu of September 11: An Essay on Inter-iconicity, Clément Chéroux16. Facing War: Photography and Humanism, Iain Boal and Julian Stallabrass17. War Primers, David Evans18. Immigration Photography in Italy, Andrea Pogliano 19. Landscape Photography's 'New Humanism', Chad EliasSection V. Citizens? Photography, Resistance and Control20. Dead End Streets: Photography, Protest and Social Control, David Hoffman21. Escaping the Panopticon, Pauline Hadaway22 'You Don't Even Represent Us': Picturing the Moscow Protests, Aglaya Glebova23. Occupy the Image, Liam Devlin24. The Becoming-Photographer in Technoculture, Sarah KemberClosing Reflections, Ronnie Close, Catherine Grant, Sarah E. James and Sandra PlummerAfterword, Charlotte CottonList of IllustrationsAcknowledgementsCreditsContributor BiographiesIndex