Thinking Photography
Burgin, Victor (ed.) (1982) Thinking Photography. Basingstoke: MacMillan.
A – B – C – D – E – F – G – H – I – J – K – L – M – N – O – P – Q – R – S – T – U – V – W – XYZ
Quotes
text
Contents
Introduction, Victor Burgin
The Author as Producer, Walter Benjamin
Critique of the Image, Umberto Eco
Photographic Practice and Art Theory, Victor Burgin
On the Invention of Photographic Meaning, Allan Sekula
The Currency of the Photograph, John Tagg
Looking at Photographs, Victor Burgin
Making Strange: The Shattered Mirror, Simon Watney
Photography, Phantasy, Function Victor Burgin
Index A-C
A
Abbott,B. 110-14, 171
Addams, J. 104
advertising 2, 74-81, 186,196,
198,202,213
analogical 34, 223
Aperture 101
aphasia 56
Aragon, L. 30, 31
Arbus,D. 40-1,81, 175
Aristotle 54
art photography 3,108,117,189, 205,208,210,213,214
associations 55
Atget, E. 167
B
Balzac, H. de 134-5
Barr, A. H. 114
Barthes, R. 13, 34, 4 7-50, 52, 58-61, 70, 71, 87, 91,118, 143,146
base 4
Baudelaire, C. 96, 98, 100, 101
Beckett, S. 160
Bell, C. 11, 100,103,209
Benjamin, W. 12, 39-40, 82, 95,
119,166,167,168
Benoist,J.-M. 82
Berenson, B. 193
binarism 220
Black Panthers 205
Boccaccio, G. 69
Brady, M. 125
Brandt,W. 170-1
Brecht, B. 21, 22, 27-9, 39, 82,
166
Breton, A. 158, 170
Brik,O. 163
C
Camera Work 92-3, 97,102
caption 24, 82, 104-5, 144,
191-2
Casseres, B. de 97 – 8
Chaplin, C. 56
Chomsky, N. 51
codes 143, 145; graphic 33; iconic 36-7; iconographic 3 7; of perception 32, 35; of recognition 33, 35, 63; rhetorical 37, 38, 143; stylistic 36, 38; of taste and sensibility 3 7; tonal 36, 65; of transmission 35, 65; of the unconscious 38
commitment 16ff, 27
committed photographer 5 5
commutation test 62, 64
competence 51, 53
composition 150-2
Comte, A. 10
conceptual art 39
condensation 195,196,197,201
connotation 50, 56-9, 87,104, 143
considerations of representability 195,196, 203
content plane 57-8, 65
Courbet, G. 10, 132, 134
craft 93
criticism see photography criticism
Croce, B. 102
Cubism 10, 56, 91,160,170,210
Culler, J. 55
‘culturalism’ 6
currency 120-2
D-H
D
Dadaism 23, 164
day-dream 153,195, 199-200
decisive moment 146
Delacroix, E. 10, 119
denotation 50,56-9,87, 143
Derrida,J. 54
Diderot,D. 155
difference 45, 54, 145,147,207, 208
digital 34, 223
disavowal 190
discourse 2, 3, 70, 84ff, 128, 130, 144, 188-9, 207,213,214, 216
displacement 195,196
Doblin, A. 21-2
documentary photography 108, 111
double-articulation 62,221
dream-work 195-7
Durand,J. 70ff, 81
E
Eco, U. 13, 60-6
Eisenstein, S. 56, 68
Eisler,H . 24-5
empiricism 6, 7
Engels, F. 134-5
epic theatre 28-9
Evans, W. 114
exchange 84-5
exhibitionism 187,189,204
expression 11, 101, 102-3, 108, 111
expression plane 57-8, 65
F
false consciousness 4-5,46, 157
family 41,117,144,205
‘Family of Man’ exhibition 118
Farm Security
Administration 125ff
fashion writing 5 8
FederalArt Project 113
femininity 8-9
fetish 40, 94,101,103, 178, 179, 190-1
figures (see also rhetorical
figures) 36, 64
fine print 189
form 34, 57
Foucault,M. 122, 129-30, 131, 132, 214-15
Freud,S. 7,71,81-2,144,170, 187-8, 194, 195-7, 199-200
Friedland, S. 181
Friedlander, L. 175,207
Fry, R. 11,103, 159-60
G
Gautier, T. 95-6
Gombrich,E. H. 214
Goncourt, E. and Goncourt, J. de 96
Gramsci, A. 123-4
Greenberg, C. 11, 208-11
Griffith, D. W. 56
Grtindel, G. 26
Guggenheim, W. 104
Gulliver’s Travels 175
Gutman, J. 107
H
Harkness,M. 134
Heartfield,J. 23,164
Heath,S. 47,59, 188-9
Hefner, H. 92
Herskovits, M. 85
Hess, H. 120
Hine, L. 13, 88ff, 103ff
Hirst, P. Q. 8, 124
history of photography 3-4, 142
Hitler,A . 21
Hjelmslev,L. 49,50,57,58
Horowitz, M. J. 194, 197, 198, 205
humanism 5-6, 7, 108-9, 215
Husserl,E. 47
I-P
I
iconic sign (see also codes, iconic) 32ff, 61ff
identification 18 9
identikit 64
Ideological State Apparatuses 5, 7, 123-4
ideology 4-9,41,46,58,59, 117-19, 123-4, 134,146, 148,173,188
image 67, 83,144,197,200,214, 216
imaginary 147,153
inner speech 197
inspiration 81
institutions 213ff
intertextuality 144
J
Jackson,W.H. 125
Jakobson, R. 13, 56, 135
Johnson, R. 6
K
Kant, I. 10, 102
Kastner, E. 26
Kautsky, M. 134
Kertesz, A. 154, 170, 171
Khlebnikov, V.V. 157ff
Kuleshov,L. 67-8
Kushner, B. 177ff
L
Lacan, J. 7, 81-2, 147, 187-8, 202,231
language (langue) 50-1, 59
language of photography 143
Laplanche, J. 201,202
Leclaire, S. 200
Lee,R. 126
Lef 162
Lenin, V. I. 134-8
Lichtenberg, G. 27
Library of Congress 125
logocentrism 54-5
London, J. 110
look 147-8, 187ff,204
Lyotard, J.-F. 201
Lysenko, T. D. 10
M
MacCabe, C. 8
Macherey,P. 118,125,136
making strange 14, 155ff, 180
Malevich, K. 12, 159
Martinet, A. 35
Marx,K. 4,46-7,121,134, 156-7
Marxist cultural theory 4ff, 8
Maublanc, R. 2 9-31
Mayakovsky, V. V. 158ff
metalanguage 5 7 -8
metaphor 37,56,81, 100-1, 135, 212
metonymy 37,56,81-2,94, 100, 104-5, 135, 203, 212
Metz,C. 62,65-7,83, 191
mirror stage 147,189
Modernism 3, 11,40, 159-61, 168, 170, 208-10
Moholy-Nagy,L. 154,167,175, 186
montage (see also photomontage) 28-9, 68, 97,168
Morawski, S. 135
Morris, C. 32
Morse, S. 86
Moscow Linguistic Circle 12
Mulvey, L. 14
Museum of ModernArt 113,114, 207,214
myth 47-8,58,117
N
narc1ss1sm 148, 187, 189
narrative 68-9, 91,211
Nash, P. 154, 175
naturalism 135
neologism 59
New Deal 125,139
New Left 6
New Objectivity 20, 23, 25, 30
newspaper 19-20
Novy Lef 1 77ff, 212
O
Oktyabr 180, 181-6, 188
OPOYAZ 12, 163
ostranenie see making strange
overdetermination 196
P
Panofsky, I. 63
paradigm 55-6, 59, 62, 70, 72, 73,75
Paris Commune of 1871 95
parole(speech) 50-1,59
Pearl Harbour 126
Peirce, C. S. 32, 54
performance 51
perspective 146, 150, 152, 178, 186,187
phantasy 189ff, 199, 201-2
photographic education 3, 142
photographic reportage 23
photography criticism 3-4, 41, 91, 92, 103
photography theory lff, 9
photomontage (see also
montage) 164-6, 229
Piaget,J. 34,197
Pictorialism 163
Plato 14, 26, 54,214
Poe, E. A. 86-7, 98
point of view 146, 177ff
Pollock, G. 14
polysemy 68, 91
Pontalis, J.B. 202
popular art 215
Prieto, L. 35
primal phantasies 204
production apparatus 22-3, 24, 27,31
production relations 1 7
Proletarskoe Foto 179, 181
propaganda 27
prosodic features 35, 65,223
Q-Z
Q
quality 16ff, 91
R
Racine,J. 68-9
Raphael, M. 112,225
RAPKH 186
Realism 3, 10, 13, 14, 56, 85,
107-8, 1 lOff, 132ff, 174
Renger-Patzsch, A. 24, 167
representation 4, 5, 8-9, 14, 111-12,124,146,150,164, 205,206
rhetoric ( see also codes, rhetorical) 19, 68ff, 85,106
rhetorical arguments 38
rhetorical figures 37, 70, 74ff; figured language 70-1
rhetorical premises 38
Riis,J. 104
Rodchenko, A. 162-4, 166, 177ff
Roh,F. 167
Romanticism 3, 10, 40, 71, 97, 102,119,135,155-6,168, 173
ROPF 180,212
Rosenblum, B. 213-14
Rothstein, A. 132
Russian Formalism 12-13
Russian Futurism l 57ff, 170
S
Saussure, F. de 50ff, 63, 156
scopophilia 152, 187-8
secondary revision 195,197
semes 35, 36, 64
semiology 49-50, 60, 143, 146
semiotics 60, 143
Shklovsky, V. 68, 158-61
sign 53-4, 223
signified 50, 53-4
signifier 50, 53-4
signs 36,64
Sloan, J. 110
Index
Smith, W. E. 108
Socialist Realism 181, 186
sociology 2, 87, 103
Sontag, S. 121, 129, 175
Sovetskoe Foto 1 77, 179, 186
speech (parole) 50-1, 59
Spence, J. 14
Stendhal, H. B. 57
Stieglitz, A. 13, 88ff, 98ff
Strand,P. 102-3
Structuralism 13,48-9, 145
structure 34, 144
Stryker,R. 125-8, 131, 138-9
subject 14, 145ff, 188,211,231
substance 34, 57
superstructure 4
Surrealism 98, 168-71, 157
suture 188ff
Swift,J. 175
Swiners,J.-L. 70
syllepsis 68-9
symbolic order 145
Symbolism 12, 97, 99,100,135
synchrony 52-3
syntagm 50, 55-6, 59, 62, 70, 72, 75
system 55-6, 59, 62
Szarkowski, J. 208-11
T
Talbot,W.H. F. 86,93
tapestries 119-20
technique 17ff
tendency 16ff,27, 111
‘third effect’ 67 -8
Todorov, T. 12-13, 68-9
Tolstoy,L. 107, 135-8, 180
Tretyakov,S. 12, 18, 161-6
truth 129-32
