Photography: A Critical Introduction retains its position as the first introductory textbook to examine the key debates in photographic theory and place them in their social and political contexts. It thus uniquely integrates photographic theory with photographic history and critically engages with debates about the nature of photographic seeing. This completely revised and ...
Photography: A Critical Introduction retains its position as the first introductory textbook to examine the key debates in photographic theory and place them in their social and political contexts. It thus uniquely integrates photographic theory with photographic history and critically engages with debates about the nature of photographic seeing. This completely revised and updated third edition retains the thematic structure and text features of previous editions but also expands coverage on photojournalism and digital imaging. It will be essential reading for those interested in photography, graphics, fine art, art and design history, journalism, media studies, communication and cultural studies.
Especially designed to be accessible and user-friendly, it includes:
· Key concepts, short biographies of major thinkers and seminal references
· Updated international and contemporary case studies and examples
· A full glossary of terms and a comprehensive bibliography
· Resource information, including guides to public archives and useful websites
Lavishly illustrated with 100 black and white photographs and 16 pages of color plates, it includes images from Bill Brandt, Susan Derges, Rineke Dijkstra, Lee Friedlander, Fran Herbello, Hannah Höch, Dorothea Lange, Lee Miller, Martin Parr, Ingrid Pollard, Jacob Riis, Alexander Rodchenko, Sebastiao Salgado, Andres Serrano.</P>
0 有用 光脚走南极 2011-04-21 12:10:11
第六章中对20世纪中后期的摄影史的主流归纳为以精神分析学为根基的视觉符号的艺术实践，一种很有创意的说法。
0 有用 光脚走南极 2011-04-21 12:10:11
第六章中对20世纪中后期的摄影史的主流归纳为以精神分析学为根基的视觉符号的艺术实践，一种很有创意的说法。