{"product_id":"photographic-theory-9781405198462","title":"Photographic Theory","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cb\u003eHershberger is the winner of a 2015 Insight Award from the Society for Photographic Education for his work on this book and for his overall contributions to the field!\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003ci\u003ePhotographic Theory: An Historical Anthology\u003c\/i\u003e presents a compendium of readings spanning ancient times to the digital age that are related to the history, nature, and current status of debates in photographic theory.\u003c\/p\u003e \u003cul\u003e \u003cli\u003eOffers an authoritative and academically up-to-date compendium of the history of photographic theory\u003c\/li\u003e \u003cli\u003eRepresents the only collection to include ancient, Renaissance, and 19th-, 20th-, and 21st-century writings related to the subject\u003c\/li\u003e \u003cli\u003eStresses the drama of historical and contemporary debates within theoretical circles\u003c\/li\u003e \u003cli\u003eFeatures comprehensive coverage of recent trends in digital photography\u003c\/li\u003e \u003cli\u003eFills a much-needed gap in the existing literature\u003c\/li\u003e \u003c\/ul\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\"There can be no question that those of us who teach the history of photography – and our students – have been put most deeply in Hershberger’s debt.\"  (\u003ci\u003eHistory of Photography Online\u003c\/i\u003e, 1 June 2015)\u003c\/p\u003e \u003cp\u003e\"This chronologically (and, to a lesser extent, thematically) organized selection of key contributions to photographic theory display both the highly exciting diversity of theoretical questions raised by the emergence, development, triumph, and eventual metamorphosis of photography and the amazing possibility to organize the sometimes savage heterogenity of this material along unobtrusive and simple art-historical lines.\" - \u003ci\u003eLeonardo Online\u003c\/i\u003e (1 February 2014)\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eIntroduction 1\u003c\/p\u003e \u003cp\u003e\u003cb\u003e1 Before Photography to Invention: c. 380 \u003c\/b\u003e\u003cb\u003eB\u003c\/b\u003e\u003cb\u003e.\u003c\/b\u003e\u003cb\u003eC\u003c\/b\u003e\u003cb\u003e.\u003c\/b\u003e\u003cb\u003eE\u003c\/b\u003e\u003cb\u003e.\u003c\/b\u003e\u003cb\u003e–1839 9\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e\u003ci\u003eCamera\/Vision \u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e11\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e1.1 Excerpts from the Allegory of the Cave. In \u003ci\u003eThe Republic \u003c\/i\u003e12\u003cbr\u003e\u003ci\u003ePlato, c. 380 \u003c\/i\u003e\u003ci\u003eB\u003c\/i\u003e\u003ci\u003e.\u003c\/i\u003e\u003ci\u003eC\u003c\/i\u003e\u003ci\u003e.\u003c\/i\u003e\u003ci\u003eE\u003c\/i\u003e\u003ci\u003e.\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e1.2 The Function of the Eye, As Explained by the Camera Obscura 17\u003cbr\u003e\u003ci\u003eLeonardo da Vinci, c. 1520\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e1.3 Description of the Camera Lucida 19\u003cbr\u003e\u003ci\u003eWilliam H. Wollaston, 1807\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e\u003ci\u003eArt\/History \u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e23\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e1.4 Excerpts on Linear Perspective. In \u003ci\u003eOn Painting \u003c\/i\u003e24\u003cbr\u003e\u003ci\u003eLeon Battista Alberti, 1540\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e1.5 Account of the late Mr. [Robert] Barker 29\u003cbr\u003e\u003ci\u003eAnonymous, 1806\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e1.6 Description of the Process of Painting and Effects of Light Invented by Daguerre, and Applied by Him to the Pictures of the Diorama 31\u003cbr\u003e\u003ci\u003eLouis-Jacques-Mandé Daguerre, 1839\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e2 Invention to Pictorialism: 1839–c. 1880 35\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e\u003ci\u003eWhat is Photography? \u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e37\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e2.1 Some Account of the Art of Photogenic Drawing 38\u003cbr\u003e\u003ci\u003eWilliam Henry Fox Talbot, 1839 [March]\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e2.2 The Pencil of Nature. A New Discovery 44\u003cbr\u003e\u003ci\u003eNathaniel Parker Willis and Timothy O. Porter, eds., 1839 [April]\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e2.3 Report [on the Daguerreotype to the Chamber of Deputies] 48\u003cbr\u003e\u003ci\u003eFrançois Arago, 1839 [July]\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e\u003ci\u003eArt\/History \u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e55\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e2.4 Upon Photography in an Artistic View, and in Its Relations to the Arts 56\u003cbr\u003e\u003ci\u003eSir William J. Newton, 1853\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e2.5 La Photographie 59\u003cbr\u003e\u003ci\u003eAntoine Joseph Wiertz, 1855\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e2.6 Photography 61\u003cbr\u003e\u003ci\u003eEastlake, Lady (Elizabeth) 1857\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e\u003ci\u003eCamera\/Vision \u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e67\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e2.7 The Stereoscope and the Stereograph 68\u003cbr\u003e\u003ci\u003eOliver Wendell Holmes, 1859\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e2.8 Combination Printing. In \u003ci\u003ePictorial Effect in Photography \u003c\/i\u003e72\u003cbr\u003e\u003ci\u003eHenry Peach Robinson, 1869\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e2.9 Annals of My Glass House 76\u003cbr\u003e\u003ci\u003eJulia Margaret Cameron, 1874\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e3 Pictorialism to\/and\/vs. Modernism: c. 1880–c. 1920 81\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e\u003ci\u003eCamera\/Vision \u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e83\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e3.1 Focussing. In \u003ci\u003eNaturalistic Photography for Students of the Art \u003c\/i\u003e84\u003cbr\u003e\u003ci\u003ePeter Henry Emerson, 1890\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e3.2 The Death of Naturalistic Photography 88\u003cbr\u003e\u003ci\u003ePeter Henry Emerson, 1890\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e3.3 The Hand Camera — Its Present Importance 91\u003cbr\u003e\u003ci\u003eAlfred Stieglitz, 1896\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e\u003ci\u003eInterdisciplinary Approaches \u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e95\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e3.4 Photo-Chemical Investigations and a New Method of Determination of the Sensitiveness of Photographic Plates 96\u003cbr\u003e\u003ci\u003eFerdinand Hurter and Vero C. Driffield, 1890\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e3.5 Logic as Semiotic: The Theory of Signs 100\u003cbr\u003e\u003ci\u003eCharles Sanders Peirce, c. 1900\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e3.6 Intuition and Art. In \u003ci\u003eÆsthetic: As Science of Expression and General Linguistic \u003c\/i\u003e105\u003cbr\u003e\u003ci\u003eBenedetto Croce, 1902\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e3.7 The Cinematographical Mechanism of Thought and the Mechanistic Illusion…. In \u003ci\u003eCreative Evolution \u003c\/i\u003e108\u003cbr\u003e\u003ci\u003eHenri Bergson, 1907\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e\u003ci\u003eWhat Should Photographs Look Like? \u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e113\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e3.8 On the Straight Print 114\u003cbr\u003e\u003ci\u003eRobert Demachy, 1907\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e3.9 What is a “Straight Print”? 118\u003cbr\u003e\u003ci\u003eFrederick H. Evans, 1907\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e3.10 Photography and Artistic-Photography 121\u003cbr\u003e\u003ci\u003eMarius de Zayas, 1913\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e4 Modernism to Postmodernism: c. 1920–c. 1960 123\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e\u003ci\u003eCamera\/Vision \u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e125\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e4.1 Photography and the New God 126\u003cbr\u003e\u003ci\u003ePaul Strand, 1922\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e4.2 Light: A Medium of Plastic Expression 130\u003cbr\u003e\u003ci\u003eLászló Moholy-Nagy, 1923\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e4.3 Seeing Photographically 132\u003cbr\u003e\u003ci\u003eEdward Weston, 1943\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e4.4 The Camera’s Glass Eye 136\u003cbr\u003e\u003ci\u003eClement Greenberg, 1946\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e\u003ci\u003eWhat Should Photographs Look Like? \u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e139\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e4.5 Aims 140\u003cbr\u003e\u003ci\u003eAlbert Renger-Patzsch, 1927\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e4.6 A Personal Credo 142\u003cbr\u003e\u003ci\u003eAnsel Adams, 1943\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e4.7 Our Illustrations 147\u003cbr\u003e\u003ci\u003eFrank R. Fraprie, 1943\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e4.8 Photography at the Crossroads 150\u003cbr\u003e\u003ci\u003eBerenice Abbott, 1951\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e\u003ci\u003eArt\/History \u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e155\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e4.9 Excerpts from \u003ci\u003ePerspective as Symbolic Form \u003c\/i\u003e156\u003cbr\u003e\u003ci\u003eErwin Panofsky, 1927\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e4.10 The Age of the World Picture 161\u003cbr\u003e\u003ci\u003eMartin Heidegger, 1938\/52\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e4.11 Excerpts from \u003ci\u003eMuseum Without Walls \u003c\/i\u003e164\u003cbr\u003e\u003ci\u003eAndré Malraux, 1947\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e\u003ci\u003eInterdisciplinary Approaches \u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e169\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e4.12 Photography and Typography 170\u003cbr\u003e\u003ci\u003eJan Tschichold, 1928\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e4.13 The Making of a Film. In \u003ci\u003eFilm as Art \u003c\/i\u003e174\u003cbr\u003e\u003ci\u003eRudolph Arnheim, 1932\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e4.14 The Ontology of the Photographic Image. In \u003ci\u003eWhat Is Cinema? \u003c\/i\u003e176\u003cbr\u003e\u003ci\u003eAndré Bazin, 1945\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e\u003ci\u003eWhat is Photography? \u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e181\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e4.15 Mechanism and Expression, the Essence and Value of Photography 182\u003cbr\u003e\u003ci\u003eFranz Roh, 1929\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e4.16 Introduction to \u003ci\u003eThe Decisive Moment \u003c\/i\u003e188\u003cbr\u003e\u003ci\u003eHenri Cartier-Bresson, 1952\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e4.17 Photography 192\u003cbr\u003e\u003ci\u003eSiegfried Kracauer, 1960\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e5 Modernism and Postmodernism to Digital Imaging: c. 1960–c. 1990 199\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e\u003ci\u003eArt\/History \u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e201\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e5.1 Equivalence: The Perennial Trend 202\u003cbr\u003e\u003ci\u003eMinor White, 1963\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e5.2 Perspective. In \u003ci\u003eLanguages of Art \u003c\/i\u003e207\u003cbr\u003e\u003ci\u003eNelson Goodman, 1968\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e5.3 Can There Ever Again Be a History of Photography? 211\u003cbr\u003e\u003ci\u003ePeter C. Bunnell, 1975\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e5.4 Introduction to \u003ci\u003eBefore Photography: Painting and the Invention of Photography \u003c\/i\u003e214\u003cbr\u003e\u003ci\u003ePeter Galassi, 1981\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e5.5 New Metaphorics: Spirit and Symbol in Contemporary Landscape Photography 219\u003cbr\u003e\u003ci\u003eGretchen Garner, 1988\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e\u003ci\u003eCamera\/Vision \u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e225\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e5.6 Introduction to \u003ci\u003eThe Photographer’s Eye \u003c\/i\u003e226\u003cbr\u003e\u003ci\u003eJohn Szarkowski, 1966\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e5.7 Post-Visualization 232\u003cbr\u003e\u003ci\u003eJerry Uelsmann, 1967\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e5.8 Introduction to \u003ci\u003eNew Topographics \u003c\/i\u003e235\u003cbr\u003e\u003ci\u003eWilliam Jenkins, 1975\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e\u003ci\u003eInterdisciplinary Approaches \u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e239\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e5.9 Excerpts from \u003ci\u003eThe World Viewed \u003c\/i\u003e240\u003cbr\u003e\u003ci\u003eStanley Cavell, 1971\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e5.10 Notes on the Index: Seventies Art in America 246\u003cbr\u003e\u003ci\u003eRosalind Krauss, 1977\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e5.11 Photography and Fetish 251\u003cbr\u003e\u003ci\u003eChristian Metz, 1985\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e5.12 Film, Photography, and Fetish: The Analyses of Christian Metz 256\u003cbr\u003e\u003ci\u003eBen Singer, 1988\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e\u003ci\u003eWhat is Photography? \u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e263\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e5.13 On the Nature of Photography 264\u003cbr\u003e\u003ci\u003eRudolf Arnheim, 1974\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e5.14 Photography, Vision, and Representation 269\u003cbr\u003e\u003ci\u003eJoel Snyder and Neil Walsh Allen, 1975\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e5.15 The Directorial Mode: Notes Toward a Definition 276\u003cbr\u003e\u003ci\u003eA. D. Coleman, 1976\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e5.16 \u003ci\u003eSelections from \u003c\/i\u003eTransparent Pictures: On the Nature of Photographic Realism 284\u003cbr\u003e\u003ci\u003eKendall L.Walton, 1984\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e5.17 The Photograph as Post-Industrial Object: An Essay on the Ontological Standing of Photographs 290\u003cbr\u003e\u003ci\u003eVilém Flusser, 1986\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e\u003ci\u003eIdentity\/Politics \u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e295\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e5.18 The Traffic in Photographs 296\u003cbr\u003e\u003ci\u003eAllan Sekula, 1981\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e5.19 Of Mother Nature and Marlboro Men: An Inquiry into the Cultural Meanings of Landscape Photography 302\u003cbr\u003e\u003ci\u003eDeborah Bright, 1985\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e5.20 Excerpts from \u003ci\u003eRight of Inspection \u003c\/i\u003e310\u003cbr\u003e\u003ci\u003eJacques Derrida, 1985\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e5.21 Fetal Images: The Power of Visual Culture in the Politics of Reproduction 315\u003cbr\u003e\u003ci\u003eRosalind Pollack Petchesky, 1987\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e6 Postmodernism and Digital Imaging (Return to Pictorialism?): c. 1990–c. 2010 \u003c\/b\u003e\u003cb\u003e319\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e\u003ci\u003eWhat is Digital Photography? \u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e321\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e6.1 The Transcendental Machine? A Comparison of Digital Photography and Nineteenth-Century Modes of Photographic Representation 322\u003cbr\u003e\u003ci\u003eDiana Emery Hulick, 1990\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e6.2 Photojournalism in the Age of Computers 329\u003cbr\u003e\u003ci\u003eFred Ritchin, 1990\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e6.3 Phantasm: Digital Imaging and the Death of Photography. In \u003ci\u003eMetamorphoses \u003c\/i\u003e334\u003cbr\u003e\u003ci\u003eGeoffrey Batchen, 1994\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e6.4 Escaping Reality: Digital Imagery and the Resources of Photography 338\u003cbr\u003e\u003ci\u003eBarbara E. Savedoff, 1997\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e6.5 Fixing the Art of Digital Photography: Electronic Shadows 344\u003cbr\u003e\u003ci\u003eEllen Handy, 1998\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e6.6 Digital Ontologies: The Ideality of Form in\/and Code Storage — or — Can Graphesis Challenge Mathesis? 350\u003cbr\u003e\u003ci\u003eJohanna Drucker, 2001\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e\u003ci\u003eIdentity\/Politics \u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e355\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e6.7 Do Not Doubt the Dangerousness of the 12-Inch-Tall Politician 356\u003cbr\u003e\u003ci\u003eDavid Wojnarowicz, 1991\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e6.8 The Politics of Focus: Feminism and Photography Theory 359\u003cbr\u003e\u003ci\u003eLindsay Smith, 1992\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e6.9 Re-Picturing Photography: A Language in the Making 365\u003cbr\u003e\u003ci\u003eAphrodite Désirée Navab, 2001\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e6.10 A Painful Labour: Responsibility and Photography 370\u003cbr\u003e\u003ci\u003eSharon Sliwinski, 2004\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e\u003ci\u003eCamera\/Vision \u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e377\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e6.11 Clement Greenberg and Walker Evans: Transparency and Transcendence 378\u003cbr\u003e\u003ci\u003eMike Weaver, 1991\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e6.12 The Shadows on the Wall. In \u003ci\u003eThe Reconfigured Eye: Visual Truth in the Post-Photographic Era \u003c\/i\u003e382\u003cbr\u003e\u003ci\u003eWilliam J. Mitchell, 1992\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e6.13 Of Fish, Birds, Cats, Mice, Spiders, Flies, Pigs, and Chimpanzees: How Chance Casts the Historic Action Photograph into Doubt 384\u003cbr\u003e\u003ci\u003eRobin Kelsey, 2009\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e\u003ci\u003eArt\/History \u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e389\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e6.14 The Invisible Dragon: On Beauty I 390\u003cbr\u003e\u003ci\u003eDave Hickey, 1991\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e6.15 The Idiom in Photography as the Truth in Painting 394\u003cbr\u003e\u003ci\u003eRosemary Hawker, 2002\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e6.16 “Impressed by Nature’s Hand”: Photography and Authorship 399\u003cbr\u003e\u003ci\u003eDouglas R. Nickel, 2009\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e\u003ci\u003ePhotography and Memory \u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e407\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e6.17 Surviving Images: Holocaust Photographs and the Work of Postmemory 408\u003cbr\u003e\u003ci\u003eMarianne Hirsch, 2001\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e6.18 Visualizing Memory: Photographs and the Art of Biography 412\u003cbr\u003e\u003ci\u003eDeborah Willis, 2003\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e6.19 Remembering September 11: Photography as Cultural Diplomacy 415\u003cbr\u003e\u003ci\u003eLiam Kennedy, 2003\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e6.20 Through a Glass, Darkly: Photography and Cultural Memory 421\u003cbr\u003e\u003ci\u003eAlan Trachtenberg, 2008\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e\u003ci\u003eInterdisciplinary Approaches \u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e425\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e6.21 Curiosity and Conjecture: Mathematics, Photography, and the Imagination 426\u003cbr\u003e\u003ci\u003eDavid Travis, 2003\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e6.22 Image as Trace: Speculations about an Undead Paradigm 429\u003cbr\u003e\u003ci\u003ePeter Geimer, 2007\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e6.23 The Photographic Argument of Philosophy 436\u003cbr\u003e\u003ci\u003eAlexander Sekatskiy, 2010\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eWorks Cited and Further Reading 440\u003c\/p\u003e \u003cp\u003eCredits, Sources, and Acknowledgments 449\u003c\/p\u003e \u003cp\u003eAcknowledgments 454\u003c\/p\u003e \u003cp\u003eIndex 456\u003c\/p\u003e","brand":"John Wiley and Sons Ltd","offers":[{"title":"Default Title","offer_id":49407931351383,"sku":"9781405198462","price":77.85,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781405198462.jpg?v=1730500997","url":"https:\/\/bookcurl.com\/products\/photographic-theory-9781405198462","provider":"Book Curl","version":"1.0","type":"link"}