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    Faces between fact and fiction

    Faces between fact and fiction

    Faces between fact and fiction (studies on photographic portraits in Norway)

    Forfatter Novus

    Levering 2-12 dager

    345,-

    ISBN:

    9788283900231

    Forlag:

    Novus

    Trykkeår:

    2019

    Utgitt:

    2019

    Utgave:

    1

    Sider:

    231

    Vekt:

    702 gr

    Alder:

    Voksen

    Faces between fact and fiction
    Novus
    9788283900231

    Forlagets omtale:

    What is a photographic portrait? A moment in a life story, or the essence of a life? A portrait of the sitter, or a portrait of the photographer? Unmistakable truth, or staged imposture? And when the portrait in full face is accompanied by a portrait in profile, the subject we see in the picture is LES MER perhaps more properly an object? A suspect object of public control, or an interesting object of scientific research? Often, portraits appear in series. Are these still photographs of individuals, or are they meant to visualize typical features? Features of a period, a social group, an exotic culture, perhaps a race? Are such series descriptive or normative? Does the photographic medium contribute to the canonization of certain groups, and stigmatization of others? The photographic portrait conveys presence as well as absence. The photographic portrait compels us to ask whether we are still here in our bodies, or perhaps rather there in our pictures. Whatever the answer, the split between me and my picture prompts a reflexivity which is distinctive of Modernity, and that Modernity largely owes to photography. In the present anthology, taking their starting points in various examples of Norwegian photographic portraiture, a number of scholars discuss the position of photographic portraits between fact and fiction: Trond Bjorli, Marthe T. Fjellestad, Aliona Pazdniakova, Marie Fongaard Seim, Thale Sørlie, Mikkel B. Tin. LES MINDRE Forlagets omtale What is a photographic portrait? A moment in a life story, or the essence of a life? A portrait of the sitter, or a portrait of the photographer? Unmistakable truth, or staged imposture? And when the portrait in full face is accompanied by a portrait in profile, the subject we see in the picture is perhaps more properly an object? A suspect object of public control, or an interesting object of scientific research? Often, portraits appear in series. Are these still photographs of individuals, or are they meant to visualize typical features? Features of a period, a social group, an exotic culture, perhaps a race? Are such series descriptive or normative? Does the photographic medium contribute to the canonization of certain groups, and stigmatization of others? The photographic portrait conveys presence as well as absence. The photographic portrait compels us to ask whether we are still here in our bodies, or perhaps rather there in our pictures. Whatever the answer, the split between me and my picture prompts a reflexivity which is distinctive of Modernity, and that Modernity largely owes to photography. In the present anthology, taking their starting points in various examples of Norwegian photographic portraiture, a number of scholars discuss the position of photographic portraits between fact and fiction: Trond Bjorli, Marthe T. Fjellestad, Aliona Pazdniakova, Marie Fongaard Seim, Thale Sørlie, Mikkel B. Tin.

    Emner: Fotografering

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