By Gregg Mitman, Kelley Wilder
Documenting the World is set the fabric and social lifetime of photos and picture made within the clinical quest to record the realm. Drawing on students from the fields of artwork background, visible anthropology, and technological know-how and know-how reports, the chapters during this publication discover how this documentation—from the preliminary recording of pictures, to their acquisition and garage, to their circulation—has altered our lives, our methods of figuring out, our social and fiscal relationships, or even the environment. a long way past mere representation, images and movie became an essential, transformative a part of the realm they search to teach us.
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Extra info for Documenting the World: Film, Photography, and the Scientific Record
Commonwealth Institute, Tallents Papers, file 25. 42. Doane, Emergence of Cinematic Time, 22. 43. Hannah Landecker, “Cellular Features: Microcinematography and Film Theory,” Critical Inquiry 31 (2005): 907. 44. 1 (2008): 7. 45. Ginsburg, chapter 7, this volume. 46. Larry J. Schaaf, Records of the Dawn of Photography: Talbot’s Notebooks P&Q (Cambridge: Cambridge University Press, 1996), P55, May/June 1839. 47. , Histories of Observation (Chicago: University of Chicago Press, 2011). 48. , 14, no.
C. Caraffa, 19. 25. Carolyn Steedman, Dust: The Archive and Cultural History (New Brunswick, NJ: Rutgers University Press, 2002). 26. Donna Haraway, “The Persistence of Vision,” in The Visual Culture Reader, ed. Nicholas Mirzoeff (London: Routledge, 2001), 191–98. 27. Michel de Certeau, “L’Espace de l’Archive ou la Perversion du Temps,” Traverses 36 (1986): 5. 28. Elizabeth Edwards notes that one of the unifying factors in the many English photographic surveys is their “cohesive sense of purpose,” in Edwards, “Unblushing Realism and the Threat of the Pictorial Photographic Survey and the Production of Evidence, 1885–1918,” History of Photography 33 (2009): 3–17.
In 1920, the Journal de Cine-Club commented on a remarkable “cinema museum” in Boulogne-sur-Seine that housed kilometers of film documenting intimate and seemingly mundane elements of social life throughout the world: migrants looking into the camera, huddled together, on a transatlantic voyage; passersby on a New York City street. 37 Not to be outdone, the American industrialist Henry Ford sponsored one of the largest film production units in the world. ” Already a part of the 1898 Cambridge Torres Strait Expedition, still and moving pictures had become thoroughly ingrained into the practices of expeditionary science by the 1920s.
Documenting the World: Film, Photography, and the Scientific Record by Gregg Mitman, Kelley Wilder