Full Description
Within the larger context of cultural memory, family pictures have become one of the most intriguing multi- and interdisciplinary fields of investigation in the past decade. This field brings together artists working in different media (e.g. documentary photography and film, photo-based painting and installations, digital art, collage, montage, comics, etc.) as well as academics, critics, theorists and writers working in a wide range of disciplines including literature, history, art history, sociology, anthropology, psychoanalysis, film and media studies, visual culture studies, gender studies, postcolonial studies, and word and image studies. This volume intends to offer a broad, panoramic view of the topic combining West and East European as well as American perspectives.
Contents
Introduction by the editors Photo as Autobiography Marianne Hirsch and Leo Spitzer, Incongruous Images: "Before, During, and After" The Holocaust Nancy K. Miller, Beguiled by Loss: The Burden of Third-Generation Narrative Jay Prosser, The Baghdadi Jew and His Chinese Mistress Photo and Text Heinz Ickstadt, History, Narration and the Frozen Moment of Photography in Richard Powers' Three Farmers on Their Way to a Dance (1985) and Theresa Hak Kyung Cha's Dictee (1982) Zsófia Bán, Memory and/or construction: Family images in W. G. Sebald's novel, Austerlitz Private and Public Archives Rob Kroes, Virtual Communities of Intimacy: Photography and Immigration Géza Boros, Buried images: Photography in the cult of memory of the 1956 revolution András Bán, A Farewell to Private Photography Suzana Milevska, EVENTfulness: Family Archives as Events/Folds/Veils Family Album Logan Sisley, Visualising Male Homosexuality in the Family Album Ágnes Berecz, Please Recycle! On the Family Album of Ágnes Eperjesi Object/Photo/Reality Éva Forgács, From Photo to Object: Personal documents as history-writing in the works of Christian Boltanski and Ilya Kabakov Hedvig Turai, Home Museum: An installation by Katarina Ševic and Gergely László
