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11.
12.
Alessandra Antola Swan, Photographing Mussolini. The making of a political icon, Londra, Palgrave, 2020, pp. 393
Martina Caruso, 2022, review, book review, critique

Keywords: Mussolini, history of photography, portraiture, icon
Published in RUNG: 16.01.2023; Views: 868; Downloads: 0
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13.
Italian Humanist Photography from Fascism to the Cold War
Martina Caruso, scientific monograph

Abstract: Spanning four decades of radical political and social change in Italy, this interdisciplinary study explores photography’s relationship with Italian painting, film, literature, anthropological research and international photography. Evocative and powerful, Italian social documentary photography from the 1930s to the 1960s is a rich source of cultural history, reflecting a time of dramatic change. This book shows, through a wide range of images (some published for the first time) that to fully understand the photography of this period we must take a more expansive view than scholars have applied to date, considering issues of propaganda, aesthetics, religion, national identity and international influences. By setting Italian photography against a backdrop of social documentary and giving it a distinctive place in the global history of photography, this exciting volume of original research is of interest to art historians and scholars of Italian and visual culture studies.
Keywords: History of photography, documentary photography, social photography, humanist photography, painting, film, literature, anthropology, fascism, antifascism, Mussolini, resistance, partisans, masculinity, peasants, ruralism, religion, Catholicism, Carlo Levi, Christ Stopped at Eboli, propaganda, national identity, aesthetics, politics
Published in RUNG: 16.01.2023; Views: 1269; Downloads: 0
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14.
My Sister Who Travels
Martina Caruso, exhibition catalogue

Abstract: This exhibition offers the viewer new perspectives on this genre, through the landscapes in the work of six women artists. Landscape art is often considered in Romantic terms. Human analogies between the concrete world and the inner world are frequently drawn, and the open space of the land can be seen as a space for imagining, for thinking freely. But these public spaces are also contested sites, layered with histories and the implicit legacies of control, power, occupation and exclusion.
Keywords: landscape photography, history of photography, 19th century, 20th century, 21st century, women, gender, Mediterranean, video art, Halida Boughriet, Corinne Silva, Paola Yacoub, Noor Abed, Jananne Al-Ani, Ursula Schulz-Dornburg, Esther Boise Van Deman, migration, capitalism, patriarchy
Published in RUNG: 13.01.2023; Views: 1054; Downloads: 0
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15.
Iconic Images in Modern Italy: Politics, Culture and Society : Introduction
Martina Caruso, 2016, short scientific article

Abstract: This special issue explores the developments in the conversation on iconic images in Modern Italy in the fields of art history, film studies and history of photography in Italian cultural studies, concerning the ways in which we perceive and interpret such images in relation to perceptions of 'Italianicity'.
Keywords: iconic images, Italianicity, Modern Italy, history of photography, art history, film studies, fascism, postwar, Gramsci, d'Annunzio, Mussolini, Pasolini, Moro, Basilico, Tony Gentile, Falcone, Borsellino, propaganda
Published in RUNG: 13.01.2023; Views: 938; Downloads: 0
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16.
Between graphic arrangement and film: Thom Andersen’s Flicker
Polonyi Eszter, 2021, published scientific conference contribution abstract

Abstract: When the California-based filmmaker Thom Andersen made his documentary Eadweard Muybridge, Zoopraxographer in 1973-4, he recovered an aspect of Muybridge’s work that most viewers had not seen before. Projected on the screen at the top of the theater, these iconic nineteenth-century chronophotographs were allegedly first seen in movement. Viewers could watch as his half-clad and nude subjects lifted water buckets, walked up and down stairs, ran, stood, heaved, threw, jumped, crawled and kicked. Throughout the film, Andersen shows each action multiple times, so that an athlete, for instance, leaps his hurdle firstly slowly, then at increasing speeds. Almost none of the sequences appear in the tempo in which they might have taken place in front of the camera. And, despite this being omitted from reviews, many of the passages drop to frame rates below the minimum necessary to sustain the illusion of motion, dissolving Muybridge’s images in a pulsing, jagged flicker. If Andersen’s recovery of Muybridge’s image sequences continue to appear spectacular, this is because watching the motion studies suddenly lurch into moving images proves just how little their “movement” can be explained by a history of the “movies.” This paper examines Andersen’s film as a way into an alternate genealogy of the moving image provided through the phenomenon of the flicker. As has become increasingly clear with the publication of a recent anthology of his critical writings (Visible Press, 2017), Andersen was part of a generation of North American filmmaker whose practice and writing resonated with the academic critique of the film apparatus as it began to emerge from France in the 1960s and 1970s. The fixed temporal parameters of film consumption constituted a recurring consideration for Andersen, for whom “clocked” time literalized the destructiveness of capitalism’s “eternal present” (review of Christian Marclay’s The Clock, 2011). His recovery of Muybridge, for which a frame-by-frame projector allows Andersen to reconstruct what were this pre-cinematic recording systems’s famously arbitrary time intervals, is read within the context of such a critique but also of an emerging tradition of expanded cinema practice. To this effect, comparison is made between Andersen’s process and the efforts of Tony Conrad in the 1960s to research the frequencies at which human vision registers photocelluloid film’s flicker. Conrad’s ability to produce the flicker is ensured not by modification of the projector’s microtemporalities, which would have restricted the number of projectors on which he could show his flicker film, but through alterations at the level of the photocelluloid. Both Andersen and Conrad are shown to turn the basic apparatus into a rhythmic instrument by accessing its frame rates through what I argue is a graphic rather than filmic method.
Keywords: History of American cinema, avant-garde art, media archaeology, Eadweard Muybridge, Thom Andersen
Published in RUNG: 13.01.2023; Views: 953; Downloads: 0
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17.
The ‘Physiognomic Fallacy:’ An Archaeology of the Photographic Identity Document
Polonyi Eszter, unpublished conference contribution

Abstract: In an era of allegedly total surveillance (Goh, Galloway), possession of a biometric identity document can still result in being denied one’s identity or being mistaken for someone else. States have been outsourcing the processes of civic management and local governance to artificial intelligence corporations with increasing intensity since the pandemic despite awareness of systematic errors committed by facial recognition software, a “coded” bias (Kantayya, Buolamwini) that risks the further effacing an already marginalized population of non-white and non-gender conforming subjects. The project this paper is based on returns to the time it first became standard practice to validate state-issued ID documents using facial analysis in Europe of the 1920s and 1930s. While at this time images derived from human heads in photographic albums, personality tests and facial atlases purportedly aimed to record personality and character, they nonetheless often instructed their readers to locate these in parts of images that remain disconnected from the head, such as hands and feet, hair, clothing or in the subject’s immediate environment. Drawing on the concept of conjectural knowledge (Ginzburg), embodiment or tact (Balazs) and the optical unconscious (Benjamin), the project seeks to locate the “physiognomic fallacy” (Gray) in early attempts at humanizing machine vision.
Keywords: History of art, critical theory, surveillance studies
Published in RUNG: 13.01.2023; Views: 863; Downloads: 0
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18.
Franz Ferjan’s Color Stereography: Expanding Sensory Perception
Polonyi Eszter, 2022, independent scientific component part or a chapter in a monograph

Keywords: history of photography, Slovenian photography, stereoscopy, modernism, history of art
Published in RUNG: 13.01.2023; Views: 933; Downloads: 0
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19.
Agnes and Dora Bulwer's Photographs of Everyday Italians
Martina Caruso, 2022, independent scientific component part or a chapter in a monograph

Abstract: In the photographs of British sisters Agnes and Dora Bulwer taken at the end of the 19th and the beginning of the 20th century, I argue for an early humanist vision of the peasants, children and workers that they photographed on their travels around Italy.
Keywords: History of photography, protohumanism, modernity, Italy, Roman Campagna, Abruzzo, archaeology, peasants, workers, Victorian, gender, women
Published in RUNG: 13.01.2023; Views: 908; Downloads: 0
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20.
Mobility Media: an Archaeology of Identity Photography through Science, Art and Visual Culture
Eszter Polonyi, invited lecture at foreign university

Abstract: In an era of total surveillance, being in possession of a biometric ID document can still result in denial of one’s basic civil protections and human rights. The discovery of systematic errors in state-implemented facial recognition programs—such as in recognizing faces of color (Joy Buolamwini)—suggests the failure of current practices of global intelligence and mobility. This paper offers an archaeological investigation of the contemporary photo ID document. Returning to its invention in the 1920s, it examines the issues of conjectural knowledge (Carl Ginzburg), embodiment or tact (Béla Balázs) and the optical unconscious (Walter Benjamin) behind early “physiognomic” media.
Keywords: History of Science, History of Visual Culture, History of Art, History of Photography, Migration
Published in RUNG: 13.01.2023; Views: 865; Downloads: 0
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