Photography and Culture

Papers
(The TQCC of Photography and Culture is 0. The table below lists those papers that are above that threshold based on CrossRef citation counts [max. 250 papers]. The publications cover those that have been published in the past four years, i.e., from 2020-05-01 to 2024-05-01.)
ArticleCitations
When Photographs Fail, When Monuments Fall: Photography and Reparations in Canada11
Photographic Digital Heritage in Cultural Conflicts: A Critical Introduction5
Transhistoricizing the Drone: A Comparative Visual Social Semiotic Analysis of Pigeon and Domestic Drone Photography4
Indigenous Uses of Photographic Digital Heritage in Postcolonizing Australia3
The Photographic Gaze Meets the Medical Gaze: Two Cross-Dressing Men in Christer Strömholm’s Place Blanche2
Sheltering the Ghosts? Digitized Photographs of Political Victims and World War II Veterans on Russian Online Databases2
[Dream] Images of Earth in Quarantine – Some Photographs in Times of Crisis without Humans2
From the Editors1
The National is Personal: Domestic Photographs in Israel’s Authorized Digital Heritage1
All Photographs are Personal: Indian Memory Project1
Digital Visual Activism: Photography and the Re-Opening of the Unresolved Truth and Reconciliation Commission Cases in Post-Apartheid South Africa1
Fast Forward and Rewind: Voices of Women Photographers1
Possible Traces of Whiteness1
Inuit, the Crown, and Racialized Visuality: Photographs from the 1956 Canadian Governor General’s Arctic Tour1
Extension of Meanings: Text and Image in Contemporary Chinese Photographic Works0
Out of the Archive: Berenice Abbott’s Changing New York and the Carry-All Coat0
A Naughty Girl0
Coming and Going Coming and Going By Jim Goldberg, MACK, London. 75£, ISBN: 978-1-912339-77-80
For Those Who Played: Representing Indigenous Music in The Complete Works of Zhuang Xueben0
Nadar’s Aerial Photography: Science, Ecstasy, Projection0
Pandemic Photography: Images from COVID-19 in India0
#Ingrid #Ingrid , Zoé Aubry, RVB Books, April 2022, ISBN 978-2-4921750-6-00
Negative/Positive: A History of Photography0
Animal Bodies, Oil, and the Apocalyptic in the First Gulf War Aftermath0
Documents from the Edges of Conflict0
Kodachrome Plantation: Bruce Jackson’s Color Prison Photographs0
The Francis Effect and the Significance of Gestures and Images0
Reborn-Digital Tutankhamun: Howard Carter and an Egyptian Archaeologist, Name Unknown0
Bridge Street, Chester0
Postcards from the End of the World0
Punjabi Migration to the Black Country: A Photographic Journey through History, Cultures and Digital Technology0
Rediscovering the Work of Sham Sundar Das: A Look at the Photographer’s Unrecognized Legacy0
Photography and 21st-Century Migration0
Imagining the Divine0
Mel Bochner’s Actual Size (Hand), 1968: Dissecting Technology’s Smooth Surface0
Photographic Education in Uganda0
Odd Man in: The Methodist Reverend and the Photo Archive0
‘Unseeing’ Photography: Academic Freedom and Human Rights after Tiananmen0
“We Live in a Wagon Never Going Anywhere:” The Representations of Housing Conditions and Tuberculosis in Zagreb between the Two World Wars0
A Portfolio from the Series Drift Alignment0
Snapshots of Empire Games Journeys: The Vernacular Photography of Peter Heatly and the 1950 Scotland Team0
Tethered Lamb in the Flow: The Tension Between Historical Contemplation and Present Aliveness in the Odes of Taca Sui0
A Different Lens: Pegg Clarke, E. G. Shaw and the History of Australian Women’s Photography0
“Multiethnic Pioneers”: Representation of Korean Agrarian Villages inManshū gurafuand the Vision of a Multiethnic State0
Us in Relation to the Universe—Collaborative North-South Photographic Practice Research0
Colosseum, Rome and the Photographic Liberation of Jane Martha St. John0
From the Editors0
From the Editors0
Picking Sides, Picking Selves: Elīna Eihmane and Maternal Entanglement0
Palaeoliths and Pareidolia: Photography and Archaeological Stone Collecting From the Discovery of Deep Time to the Eolith Controversies0
Lola Álvarez Bravo: Subverting Surrealist Photography in Mexico0
Shadows of Reality: A Catalogue of W.G. Sebald’s Photographic MaterialsShadows of Reality: A Catalogue of W.G. Sebald’s Photographic MaterialsEdited by Clive Scott and Nick Warr, Boiler House Press, 20
The UNRWA Film and Photo Archive0
From the Editors0
Being Present: Michael Tsegaye in Addis Ababa0
Secondhand Tang Poems : Gazing at Passing Traditions0
From the Editors0
“The Queer Optics of the Vietnamese Diaspora: Reframing the Visual Archive in ‘The opposite of looking is not invisibility. The opposite of yellow is not gold.’”0
John Møller’s ‘Photographic Memory’ – Professional Photography of Greenlandic Inuit and Danish Administrators at the Turn of the Twentieth Century0
“Grateful” Children and “Humanitarian” Marines: Georgette “Dickey” Chapelle’s Vietnam Photography, 19620
Exhibiting Migration Stories: An Exploration of Poetics in Moysés Zuñiga’s Photography0
Ottomar Anschütz’s Animal Photography through the Lens of Darwinism0
Beauty to the Modernist Eyes: Katsura Imperial Villa as an Experience of Modernism and Modernity0
Countless Ways of Knowing: Looking at Images beyond the Frame as a Practice of Liberatory Pedagogy0
Indexical Realism during Socialism: Documenting and Remembering the ‘Everyday Realities’ of Late Socialist Romania through Photographs0
Lúa Ribeira, Subida al cielo (Ascent into Heaven), 17.03.2023 Until 02.07.2023, Kutxa Kultur Artegunea Donostia—San Sebastian, Spain0
Migratory Technology: Piracy and Bazaar Culture in India and Nepal0
Photography and Environmental Activism: Visualising the Struggle Against Industrial Pollution0
Henri Cartier-Bresson’s ‘Man and Machine’: Rethinking the Cold War Traffic in Photographs, against the Grain0
Evelyn Hofer and the “Moment of Danger”0
Creating Change from within: Building and Discovering a Diverse Archive of Documentary Arts0
(De)Colonial Positioning0
‘Viewing the Landscape’: Views from Expatria, Landscape Traditions and Staying Outside0
Mother, Photography, Reproduction: A Note on Extreme Private Eros : Love Song 19740
Photographs in Chinese Film Publications in the 1930s: Archives from the Republic of China Periodicals Full-Text Database (1911–1949)0
‘How Will We Be Remembered?’: Irene Shwachman’s West End Photographs0
Making Meaning across the Frame: The McKenzie Heritage Picture Archive at Black Cultural Archives0
Selecting Views of Las Trampas: Contact Sheets by Fred E. Mang Jr. and David Jones at the New Mexico State Records Center and Archives0
School Photos in Liquid Time: Reframing Difference0
Magnum Distributions, 1947–1960: Photographers’ Emancipation and Concessions0
Suburban Herbarium0
Photography and Remote Warfare: An Inquiry into the Visual Representation of Cyber in News Images0
Humanism after the Human: An Introduction0
“And This Was the Exhibition”: Launderettes, Buses and Canteens as Gallery Spaces in 1970s Britain0
“¡No Nos Desapareceremos!”: Artists Call’s Visual Solidarity with Central America0
Finding You Is My Courage: New Stories of Homecoming in Chinese Photography Since the 2000s0
Women’s Work: Photographers of the Sandinista Revolution0
Addressing Uncomfortable Emotions through the Photo-Exhibition Leaving and Waving by Deanna Dikeman0
Days of Isolation: Queering a Pandemic - Playing Myself/Selves0
Amateurism: An Alternative Narrative of Photography in China, Part I0
Picturing Women: Identity, Power, and Photographies in Urban Nigeria0
Fashion, Plastic and Myths in Color0
Crime Scenes: Landscape, Memory and Atrocity in Jorge Barbi’s El Final, Aquí0
In a World Fit for Humans? Posthumanism and the Nature-Culture Continuum in the Prix Pictet0
The Kashmir Conflict Archive0
Operation Overlord: Civilian Photography and Artistic Mediation0
The Beach, the Sea, the Fence: Spain’s Necro-Frontier and Humanitarian Photography0
Remembering to Forget0
Corona Equivalents0
The Hybrid Dialectics Interview between Warren S. Neidich and Erik Morse0
Minor Photography? Women Photographers in Yugoslavia, Pre- and Post-WWII0
Indigenous Cultures and Post-Mortem Photography0
Searching for the Homeland with Stories and Sands: ‘My Tarim’ and ‘Sand, Sand, and Sand’0
From the Editors0
Get in: Rhetoric and Realities of Diversity in the Global University0
Theorizing New Photographies in Contemporary China: An Introduction0
Between Topographical Groundwork and Neocolonial Aspirations: The ‘Best Practice’ of Survey Photography in the Chilean-Argentine Boundary Case of 19020
The Narrative across Photographs: The Silk Roads Photography Gallery0
Family, Diaspora, and the Politics of Care in Griselda San Martin’s The Wall , 2015-160
The Last Laugh: The Agency of Alternative Aesthetics in the Work of Contemporary Australian Indigenous Women Photographers0
0.024186849594116