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Mediated Anthropology > The Photographic Gaze > Flashcards

The Photographic Gaze Flashcards

1
Q

What is the Apparatus theory of Larkin?

A
  • Human and machine are one
  • Extending the potential of human prosthetic

-> Photographer is not only human, but human and machine

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2
Q

What are the existing gaps in photography?

A
  1. Human - Machine
  2. Senses - Media
  3. Self - Reproduction
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3
Q

What does ‘uncanny’ mean?

A
  • Unhomely, yet familiar
  • Seemingly real
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4
Q

What is generated by the gap between the human and the machine?

A
  • Spectral or cyborg quality (seeing/hearing through the machine)
  • Articulates the sense of self
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5
Q

What are the implications of the gap between the human and the machine (camera-eye, recorder-voice)?

A
  • Gap of mediation is never ‘bridged’
  • Photographer and photograph are an archive of all exposure, engraving and imprints made
  • The photographer only adds up to the existing work of previous photographers
    -> he is never complete
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6
Q

What does the ‘Decisive Moment’ theory of photography argue?

A
  • Photographer is not an individual genius
  • While photographer controls form, no control on content
  • Form and content can’t be separated
  • No control over the circulation, reproduction, interpretation of photographs

-> It’s more messiness, indecision, and luck than a ‘decisive moment’

-> Labor in making photographs (although often understood as artistic craft)

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7
Q

What characterises value in photography?

A
  • Optics: authentic, evidence, representations, feelings
  • Tactics: scarcity, archive, circulation, hold
  • Political-economic forces

-> “slices of time” can be lucrative or undervalued

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8
Q

What question is inherent to value in photography?

A

If time is money, and photographs a “slice of time”, is photography a currency?

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9
Q

What determines how photographers’ time is valued differently?

A
  • Social relations of production and exchange
  • Political-economic forces generate and determine value
  • Photographs are entangled in economic value

-> “slices of time” can be lucrative or undervalued

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10
Q

How is the value of photographs correlated to their proliferation?

A
  • Images deemed lucrative proliferate (e.g. marketing)
  • Images deemed not valuable don’t proliferate (e.g. photo-ethnography)
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11
Q

What is essential to generate an independent idea of photographic value?

A

Critical visual literacy

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12
Q

What is central in generating disruptive media to hegemonic forms of value?

A

Critical media making

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13
Q

What is the role of photo-ethnography?

A

To underline:

  1. Exchanges in the photographic gaze
  2. Relationships generated
  3. Directions in which value flows (economic, social, cultural)
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14
Q

What is the triad of the photographic encounter?

A
  1. Photographer/filmmaker
  2. Subject
  3. Photograph/film
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15
Q

What characterises the interaction between photographer/filmmaker and the photograph/film?

A
  • Photographer/filmmaker distributes the photograph/film
  • The photograph/film is a canon to the photographer/filmmaker
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16
Q

What characterises the interaction between photographer/filmmaker to the subject?

A
  • The photographer/filmmaker shoots the subject
  • The subject trusts the photographer/filmmaker
17
Q

What characterises the interaction between the subject and the photograph/film?

A
  • The subject consumes the photograph/film
  • The photograph/film is a self-image to the subject
18
Q

What is the work of Lutz and Collins (1991) on the photograph as an intersection of gazes?

A

The use of photographs in National Geographic (prominent North American publication)

  • Analysed mass mediated representations of the “Third World”
  • Inter-cultural relations in the photograph
  • Focusing on the various gazes present in the publication

-> contribution to the debate on photographic interpretation

19
Q

What did Lutz and Collins (1991) argue about the photograph as an intersection of gazes?

A
  • More than viewer and viewed, there’s represented and representation
  • The present gap reveals multiple gazes

-> Photograph is a site where gazes intersect

20
Q

What are the five types of gazes in photographs according to Lutz and Collins (1991)?

A
  1. Photographer’s gaze
  2. Magazine reader’s gaze
  3. Non-western subject’s gaze
  4. Explicit Western gaze
  5. Academic spectator
21
Q

What characterises the photographer’s gaze (Lutz and Collins, 1991)?

A
  • Represented by camera’s eye
  • Mark on the structure/form and content of the photograph
22
Q

What characterises the magazine reader’s gaze (Lutz and Collins, 1991)?

A

Includes the whole institutional process where photographer’s gaze is chosen for use and emphasis

23
Q

What characterises the non-westerner subject’s gaze (Lutz and Collins, 1991)?

A

How and where the non-westerner subject looks determines the differences in the message on intercultural relations given by the photograph

24
Q

What characterises the explicit Western gaze (Lutz and Collins, 1991)?

A

Proves the Western author was there
(taking the photograph)

25
Q

What characterises the photographic gaze according to Lutz and Collins, (1991)?

A
  • It’s not singular or monolithic
  • Multiplicity of looks
  • Opens up possibilities in interpretation of photographs
  • It’s part of a photographic literacy
  • Intimacy, pleasure, scrutiny, confrontation, power

Mediated Anthropology (10 decks)

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