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In History, the Future: Determinism in the Early History of Photography in France
Published 2018-10-01“…Technological determinism and media specificity have profoundly shaped the history of photography—two strands of thought inherited from nineteenth century predecessors. …”
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Developing blended learning the subject history of photography among photography student / Muhammad Asri Azuddin
Published 2015“…In photography there also a History of Photography subject for photography students to learn. …”
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Mobile application as a new method in learning the history of photography course / Muhammad Asri Azuddin, Mohd Nasiruddin Abdul Aziz and Norhaslinda Shafie
Published 2018“…However, informal studies about History of Photography, students still relying on the slideshow in the classroom, copying notes and lending books from the library. …”
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Photographers and Photographic History of Kastamonu (1889-1968)
Published 2018-12-01Subjects: Get full text
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Women in Fur: Empire, Power, and Play in a Victorian Photography Album
Published 2020-11-01Subjects: “…history of photography…”
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Allan Sekula, du charbon à la mer : matérialisme culturel et réalisme critique
Published 2021-02-01Subjects: Get full text
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Krótka historia „rysowania światłem”. Ewolucja roli fotografii i jej pozycja wobec nowych technologii (zamiast posłowia)
Published 2023-12-01Subjects: Get full text
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Exhibiting the West at the Paris Exposition of 1867: Towards a New American Aesthetic Identity?
Published 2019-06-01Subjects: Get full text
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Fotoğraf Serüveninin Son Durağı, Mobil Fotoğrafçılık
Published 2021-10-01Subjects: Get full text
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Representing Bodies and Identities in Global Exhibitions
Published 2023-08-01Subjects: “…History of photography. Ishiuchi Miyako. Japanese female photography. …”
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Emerging landscapes: memory, trauma and its afterimage in post-apartheid Namibia and South Africa
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The Relation of Historiography and the Problem of Referent in Photography in Roland Barthes
Published 2019-09-01“…Doubting the possibility of objectivity in historiography, Barthes challenges within semiotic framework the notion of ”photo is equal with reality” and therefore criticizes the realistic approach in history and photography.…”
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