消息首页搜索举报

现货Snapshot Photography: The Lives of Images[9780262019293]

337 九五品

仅1件

上海宝山

认证卖家担保交易快速发货售后保障

作者Zuromskis, Catherine

出版社MIT Press

ISBN9780262019293

出版时间2013-11

装帧精装

纸张其他

页数264页

正文语种英语

上书时间2023-08-09

环球外文图书专营店

已实名已认证进店收藏店铺

在售商品暂无
平均发货时间 59小时
好评率暂无

最新上架

现货 Concise Numerical Mathematics ¥1175.00

现货 Secondary Cohomology Operations ¥1175.00

现货 Introduction to Smooth Ergodic Theory ¥1175.00

现货 Commutative Algebra ¥1175.00

现货 Homological Methods in Commutative Algebra : 234 ¥1175.00

现货 Modern Classical Homotopy Theory ¥725.00

现货 Advanced Modern Algebra : Part 2 ¥780.00

现货 Inverse Problems for Fractional Partial Differential Equations ¥725.00

现货 Ricci Solitons in Low Dimensions ¥1175.00

商品详情

品相描述：九五品

商品描述: Snapshots capture everyday occasions. Taken by amateur photographers with simple point-and-shoot cameras, snapshots often commemorate something that is private and personal; yet they also reflect widely held cultural conventions. The poses may be formulaic, but a photograph of loved ones can evoke a deep affective response. In Snapshot Photography, Catherine Zuromskis examines the development of a form of visual expression that is both public and private. Scholars of art and culture tend to discount snapshot photography; it is too ubiquitous, too unremarkable, too personal. Zuromskis argues for its significance. Snapshot photographers, she contends, are not so much creating spontaneous records of their lives as they are participating in a prescriptive cultural ritual. A snapshot is not only a record of interpersonal intimacy but also a means of linking private symbols of domestic harmony to public ideas of social conformity. Through a series of case studies, Zuromskis explores the social life of snapshot photography in the United States in the latter half of the twentieth century. She examines the treatment of snapshot photography in the 2002 film One Hour Photo and in the television crime drama Law and Order: Special Victims Unit; the growing interest of collectors and museum curators in "vintage" snapshots; and the "snapshot aesthetic" of Andy Warhol and Nan Goldin. She finds that Warhol''s photographs of the Factory community and Goldin''s intense and intimate photographs of friends and family use the conventions of the snapshot to celebrate an alternate version of "family values." In today''s digital age, snapshot photography has become even more ubiquitous and ephemeral -- and, significantly, more public. But buried within snapshot photography''s mythic construction, Zuromskis argues, is a site of democratic possibility.