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Review of: К. Е. Балдин- Рецензия на книгу «Первая мировая война и миф. Печатная графика из собрания Ивановского историко-краеведческого музея имени Д. Г. Бурылина, фотографии из коллекций Рыбинского музея- заповедника и Национального музея Республики Коми». — М.: Программа «Первая публикация» Некоммерческой благотворительной организации «Благотворительный фонд В. Потанина», 2014. — 400 + 272 + 296 с. + илл.
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My study aims to reveal the connections between visual propaganda and pedagogy during the Hungarian state-socialism by analyzing different variations of a single picture of Vladimir Lenin. The ideological indoctrination played an important role in the socialization of children, even teachers; thus, the communist power tried to create a new ceremonial-ritual order and a socialist identity. The following analyzed images (photos and paintings) show different functions and meanings; by reframing and transforming photographs and contexts, we can demonstrate how the viewers could have been manipulated. The starting photo comes from my studies (based upon the corpus of Hungarian pedagogical journals) published in 1970, showing a seemingly unconventional representation: Lenin as a child.
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Wiesław Godzic ‒ Gdy paparazzi robią zdjęcie: maski, twarze i gęby popkultury
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The author presents the results of an analysis of Instagram profiles of ten European presidents. Photos posted there have three persuasive goals: they build the image of a particular politician, image of the office of the president and strengthen the sense of community and national pride. The Presidents appear in several roles: a star, an ordinary person, a guardian of memory, a representative of the state and the nation, a host. The author analyzes the style of visual rhetoric and proves that Instagram can be an effective tool for building civic awareness.
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This text is focused on the socialisation process of the photo image since its appearance in the 19th Century to this day. In spite of its timely occurrence which catered to the growing need for image memory of industrial society, this type of photography was perceived diversely at the beginning. The scientific, technical and cultural elites gladly embraced it and immediately found application for it, whereas the prevailing population, immersed in its daily routine, perceived it with suspicion, and in countries that were rather backward in their pictorial tradition, even with hostility. It took some time for it to become part of everyday life, and, later, to make the next cultural revolution after Gutenberg‘s, so that we arrive at today‘s fast-paced world, which is undoubtedly prevailed by the image. This text outlines the main visual constructs through which this happens, and tries to answer the question of why today's new or rather modified types of photography are constantly appearing.
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The article discusses the possibilities of the emergence of a neo-materialistic aesthetics of the poem. Each of the analyzed examples—Ewa Partum’s active poetry, Adam Kaczanowski’s toy-art and Andrzej Tobis’s photographic archive—reveals different aspects of this aesthetics. The case of Partum shows that the material concreteness of poetry—today also associated with virtuality— requires other ways of perceiving / commenting / documenting the “poems” happening between the media. Active poetry consists in drawing the text (which eventually turns out to be a jigsaw made of letters) out of the formula of the finished object and making the medium of writing/language the material from which the object of artistic attention is “made”. I call Tobis’s project neo-materialistic, since it shows how we move from the human hybrid level we move to normalization and stabilization (and vice versa). Tobis seems to reach the moment when this normalization is actually happening and, at the same time, he shows levels of transformations, mutations and deviations. Kaczanowski “invents” for his poetry a medium different from the traditional record and the traditional form of the book. This principle of “invention” turns out to be very important, because it decides whether some materializations are poetic objects or not, without specifying any initial aesthetic, political and ideological criteria. In the most general terms this new-materialist aesthetics has been linked here with the transmedia horizon of art and the transformations of materialistic thinking made under the influence of the non-anthropocentric imagination.
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The Leopolis Collection (at the Museum of Independence) constitutes a valuable source of knowledge on the past of Lviv and its surroundings as well as the fate of the Polish people living there. Created in 1992 as a result of the efforts of Borderland circles, its contribution is used for research by museum specialists, professional historians and researchers of the Borderlands past. The artefacts, archival materials and publications collected there are made use of for preparing exhibitions, scholarly articles and monographs. These valuable collections in relation to exhibitions are still awaiting a systematic study. Research undertaken so far has borne fruit in the form of valuable monographs and studies, but there are many valuable materials still waiting to be unearthed. For the purposes of accessing the museum materials the creation of a Leopolis Collection catalogue is necessary so that its contents can be more broadly made use of – both in historical research and that pertaining to museum-based studies.
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This paper discusses one of the most important collections of photographs from the Austro-Hungarian period by František Franjo Topič, a Czech photographer. This collection is stored in the National Museum of Bosnia and Herzegovina. A significant part of this collection are photographs of Sarajevo, around 500 of them, which are divided into thematic units and have a very diverse content. Certain places in the city are often photographed continuously, over a longer period of time, so we are able to follow the phases and changes in the development of the city in the Austrian period through these photographs.
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In addition to its thematic collections, the Sarajevo Museum also has its own photo library. At the time it was founded, in 1949, the Museum’s modest museum holdings included a small photo library. Over the next few years much effort went into collecting material, including a considerable number of photographs. Some of these photographs, many of which dated from before the Museum was founded, were acquired by purchase and cooperation with other cultural institutions or individuals who made their negatives, duplicates or original photographs available. The photo library now has 9,037 inventory items with more than 20,000 photographs, ranging from photographs of everyday life to those of a variety of buildings and cultural and historic monuments.
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The relationship between film and philosophy commonly appears as the reflection of philosophical problems on the silver screen or as a discussion of the aesthetic problems of cinema with the concepts of philosophy. Stanley Cavell’s film ontology is significantly different with respect to the relationship between film and philosophy. He approaches film from an ontological point of view. In doing so, he refers to the theoretical framework that Wittgenstein presents in his late period. Cavell, with reference to Wittgenstein’s theory of meaning, denies the distinction between appearence and reality, image is not an image of reality; on the contrary, it is the reality itself. For him, the attitude of modern philosophy that separates appearance from the reality is an illusion. Cavell bases this Wittgensteinian attitude on the ontology of the photographic image. According to this ontological position, photograph is not an image of a reality but an autonomous reality. Cavell then tries to understand cinema with this ontological structure that he attributes to the photographic image. The reality of the film world and the contactlessness of the audience’s actual world with the film world create a dual ontological structure. Cavell makes an analogy between the effect of this ontological duality on the audience and philosophical skepticism. Hence, he calls the film the moving image of skepticism. For Cavell, the world of the film is a magical world in which the audience is in doubt between existence and non-existence. In this study, I aim to clarify the ontological status that Cavell attributes to the photographic image and the relationship between film and philosophical skepticism In addition, I will claim that the relationship Cavell established between film and philosophy, has an unusual quality because he uses the film as a philosophical scene.
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Female athletes’ media representation is an object of scientific attention during the last forty years, but few studies analyze the situation in Eastern European countries. Meanwhile, there is no research on sportswomen’s representation in Ukrainian media. Using a content analysis methodology, we analyzed women’s sports coverage in the sports section of the online version of popular Ukrainian daily newspaper Segodnya (Today). We found that most articles in the sports section are dedicated to men’s sport, and women’s sport is poorly covered. Female athletes are controversially framed in news stories. While ‘sports stories’ depict sporting achievements of female athletes and are accompanied by photographs of female athletes in action, the percentage of stories that are not related to sport is quite high. These «non-sports» stories are dedicated mainly to sportswomen’s appearance and sexuality, as well as their private life.
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Literature and photography have always encouraged critics to explore interactions between text and image. Within the scope of culture, they also show significant potential in terms of their scholarly application, since the photograph becomes a practical tool for studying literary works within the cultural matrix. The paper aims to use this means of visualisation in order to examine the picture bride phenomenon illustrated in Yoshiko Uchida’s novel Picture Bride (1987), which reveals that behind the veil of apparently prosperous and lifelong marriages, there is a harsh matchmaking system which - solely on the basis of personal networking and Japanese marriage intermediaries - allows for shipping prospective wives from Japan to Japanese immigrants who settled in the United States a few decades earlier. Thus, the photograph constitutes a tool of analysis, which doubles as a tangible means of representation and a factual visualisation of metacognitive imagery.
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Gazi Husrev-beg’s Library in Sarajevo, beside its rich stock of manuscripts, archival and museum collections, also houses a valuable collection of photographs within the photo archive’s stock, which is divided into the old and the new stock. The focus of this paper is on photographs from the photo archive’s old stock, taken at the time of the arrival of the Austro-Hungarian government, when the first professional photograph stores started up in this area. This paper aims at trying to determine whether the photographs from the photo archive’s old stock were signed by Anton Schadler, Walter Tausch, Ignatz Lederer, Ivica Lisac, Nusret Halačević and other foreign and domestic photographers who made a significant contribution to the development of photography in Bosnia and Herzegovina, or they were taken later in modest photograph stores. Moreover, based on the preserved lists of library materials and other archival materials stored in Gazi Husrev-beg’s Library in Sarajevo, the paper deals with the issue of forming the photo arhive’s stock and the ways to determine the processing, classification and systematization of photographs.
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This article focuses on the photographs included in selected record groups in the Archives of the Polish Catholic Mission and discusses them in their historical context. The preserved material presents religious celebrations and patronal feasts of individual associations of the Polish diaspora. The paper also describes the photographs of religious buildings, those documenting support given to Poland when martial law was in force, and those found in the press organs of the Polish Catholic Mission: “Polak we Francji”, “Polska Wierna” and “Glos Katolicki”. The further part contains photographs in loose collections. The oldest ones relate to the events after 1919, when Poles arrived in France for economic reasons. After World War I, France needed workers, particularly in mines, and looked for them in numerous places, including Poland. The article also presents camp photographs, given to the Archives of the Polish Catholic Mission by Barbara Kujawska-Biernat, the daughter of the niece of Prelate Wiktor Miedziński, who worked as a Polish priest in Metz from 1945 to 1958.
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The Lublin Archdiocesan Archives store a collection of approximately 11,000 photographs from the 19th, 20th and 21st centuries. This collection still has to be put in order to respectfully all archival standards. It does not have a proper inventory yet. For internal purposes, only simple lists of photographs have been created. The collection is divided, according to the order of accession, into albums, chronicles, folders, envelopes and archival boxes. A significant part of the photographs finds its place in the personal and parish files. The photographs are digitalized to a very small extent. Their digital copies are prepared in an unsystematic way, mainly for the ad hoc purposes of current exhibitions and planned publications. Nevertheless, the photographic collection attracts increasing interest and is made available to public. The collection includes interesting objects, such as an extensive group of photos gathered for the purpose of beatification processes.
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The Archives of the John Paul II Institute contains the archival legacy of Rev. Professor Tadeusz Styczeń, Karol Wojtyła’s student and long-time director of the John Paul II Institute. The legacy material, apart from the textual documentation already arranged and described, includes numerous items in various forms of photographic image recording. Positive prints constitute the most numerous group, but negatives and image documentation digitally recorded are also held in the archives under study. The author discusses the state of arrangement of this collection from the point of view of archival methodology. He presents significant series and photographic themes, focusing on those which contain photographs connected with the activities of Karol Wojtyła (later Pope John Paul II) at the Catholic University of Lublin. He draws attention to those series of photographic documentation which show a unique relationship between the Pope and the author of the legacy, Rev. Tadeusz Styczeń. In conclusion, he defines the necessary successive stages of archival processing and emphasizes the need for quick arrangement, particularly the description of thematic series as well as the identification of events and people depicted in individual photographs.
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The article is devoted to the issue of photography as an archival material requiring particular knowledge at the stage of identification, preservation and conservation of collections. Photographs are objects made in various techniques and technologies, on a range of bases and light-sensitive substances. Their complicated structure is responsible for the exceptional sensitivity of these objects in contact with destructive factors and for the often rapid course of the degradation process, even resulting in the complete loss of the medium. The text deals with the identification of techniques and technologies used in the making of objects, describes the factors influencing the degradation of images, and highlights the basic guidelines for the protection and conservation of collections. The text presents the beginnings of the phenomenon of photography, as well as the most common photographic techniques found in Polish collections. The author describes the most important research concerning the identification and preservation of photographs, quoting source materials. The essential part of the study consists of guidelines concerning the process of identification of the technique of taking an object, from which all activities connected with securing or preserving photographs should begin (including the identification of unstable plastic bases). Then the text describes the most common causes of degradation of archival photographic materials and the basic processes thanks to which we can positively influence the longevity of photographic collections (including the storage of objects in reduced temperature and relative humidity parameters). The study ends with a description of preventive conservation measures necessary to maintain the collections in a good state of preservation as well as proper handling of photographs during the process of digitization of the collections.
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The aim of this article is to present some of the photograph collections accumulated in the Archives of the Polish Province of the Congregation of the Mission in Cracow and the Archives of the Publishing Institute of the Congregation of the Mission „Nasza Przeszłość” in Cracow. Both institutions, apart from records, surveying-cartographic and technical materials, hold photographs. These include mainly single photographs documenting the life of members of the Congregation of the Mission and the history of its missionary outposts. There are also albums and boxes which contain theme-related photographs. In most cases it is not possible to identify their authors, except for the collection held in the „Nasza Przeszłość” Archives. It was accumulated by its founder, Professor Rev. Alfons Schletz CM, who for many years gathered various photographs, which he arranged into a number of different collections.
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