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MONIKA SCHWÄRZLER AT FACE VALUE & BEYOND. Image | Volume 75 To Kurt and Adrian Associate Professor Dr. Monika Schwärzler teaches in the Department of Media Communications at Webster Vienna Private University. Her research interests in- clude visual culture, art and media theory, history of photography, documentary (cid:3029)(cid:79)(cid:80)(cid:15)(cid:3)(cid:71)(cid:82)(cid:70)(cid:88)(cid:80)(cid:72)(cid:81)(cid:87)(cid:68)(cid:85)(cid:92)(cid:3)(cid:83)(cid:75)(cid:82)(cid:87)(cid:82)(cid:74)(cid:85)(cid:68)(cid:83)(cid:75)(cid:92)(cid:3)(cid:68)(cid:81)(cid:71)(cid:3)(cid:68)(cid:81)(cid:76)(cid:80)(cid:68)(cid:87)(cid:76)(cid:82)(cid:81)(cid:17) AT FACE VALUE & BEYOND. PHOTOGRAPHIC CONSTRUCTIONS OF REALITY MONIKA SCHWÄRZLER An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access for the public good. The Open Access ISBN for this book is 978-3-8394-2954-9. More information about the initiative and links to the Open Access version can be found at www.knowledgeunlatched.org. This work is licensed under the Creative Commons Attribution-NonCommer- cial-NoDerivs 4.0 (BY-NC-ND) which means that the text may be used for non- commercial purposes, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. To create an adaptation, translation, or derivative of the original work and for commercial use, further permission is required and can be obtained by contac- ting [email protected] © 2016 transcript Verlag, Bielefeld Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Na- tionalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de Cover layout: Paul Kwiatkowski, Image from the series »Eat, Prey, Drug«, Queens, New York 2014. © Kwiatkowski Design & Layout: Seth Weiner Printed by Majuskel Medienproduktion GmbH, Wetzlar Print-ISBN 978-3-8376-2954-5 PDF-ISBN 978-3-8394-2954-9 Acknowledgment (cid:36)(cid:86)(cid:3)(cid:68)(cid:79)(cid:90)(cid:68)(cid:92)(cid:86)(cid:3)(cid:76)(cid:81)(cid:3)(cid:79)(cid:76)(cid:73)(cid:72)(cid:15)(cid:3)(cid:81)(cid:82)(cid:87)(cid:75)(cid:76)(cid:81)(cid:74)(cid:3)(cid:76)(cid:86)(cid:3)(cid:68)(cid:70)(cid:75)(cid:76)(cid:72)(cid:89)(cid:72)(cid:71)(cid:3)(cid:90)(cid:76)(cid:87)(cid:75)(cid:82)(cid:88)(cid:87)(cid:3)(cid:87)(cid:75)(cid:72)(cid:3)(cid:75)(cid:72)(cid:79)(cid:83)(cid:3)(cid:82)(cid:73)(cid:3)(cid:82)(cid:87)(cid:75)(cid:72)(cid:85)(cid:86)(cid:17)(cid:3)(cid:55)(cid:75)(cid:72)(cid:85)(cid:72)(cid:73)(cid:82)(cid:85)(cid:72)(cid:3)(cid:44)(cid:3)(cid:90)(cid:82)(cid:88)(cid:79)(cid:71)(cid:3) like to express my gratitude to all of those people who in various ways contributed to the realization of this project. My sincere thanks goes to Serge Bramly & Bettina Rheims, Peter Ginter, Maria (cid:43)(cid:68)(cid:75)(cid:81)(cid:72)(cid:81)(cid:78)(cid:68)(cid:80)(cid:83)(cid:15)(cid:3)(cid:36)(cid:81)(cid:86)(cid:72)(cid:79)(cid:80)(cid:3)(cid:46)(cid:76)(cid:72)(cid:73)(cid:72)(cid:85)(cid:15)(cid:3)(cid:51)(cid:68)(cid:88)(cid:79)(cid:3)(cid:46)(cid:90)(cid:76)(cid:68)(cid:87)(cid:78)(cid:82)(cid:90)(cid:86)(cid:78)(cid:76)(cid:15)(cid:3)(cid:47)(cid:72)(cid:89)(cid:3)(cid:48)(cid:68)(cid:81)(cid:82)(cid:89)(cid:76)(cid:70)(cid:75)(cid:15)(cid:3)(cid:36)(cid:71)(cid:76)(cid:3)(cid:49)(cid:72)(cid:86)(cid:15)(cid:3)(cid:44)(cid:74)(cid:82)(cid:85)(cid:3) Samolet, Andres Serrano, Jules Spinatsch, Thomas Struth, and, furthermore, to Haus der Barmherzigkeit, CS Hospiz Rennweg and(cid:3)(cid:83)(cid:85)(cid:82)(cid:2302)(cid:79)(cid:3)(cid:3)(cid:73)or their generous permission to print the images included in this book free of charge. (cid:44)(cid:3)(cid:90)(cid:82)(cid:88)(cid:79)(cid:71)(cid:3)(cid:68)(cid:79)(cid:86)(cid:82)(cid:3)(cid:79)(cid:76)(cid:78)(cid:72)(cid:3)(cid:87)(cid:82)(cid:3)(cid:87)(cid:75)(cid:68)(cid:81)(cid:78)(cid:3)Webster Vienna Private University(cid:3)(cid:73)(cid:82)(cid:85)(cid:3)(cid:87)(cid:75)(cid:72)(cid:3)(cid:3029)(cid:81)(cid:68)(cid:81)(cid:70)(cid:76)(cid:68)(cid:79)(cid:3)(cid:86)(cid:88)(cid:83)- (cid:83)(cid:82)(cid:85)(cid:87)(cid:3)(cid:44)(cid:3)(cid:85)(cid:72)(cid:70)(cid:72)(cid:76)(cid:89)(cid:72)(cid:71)(cid:3)(cid:87)(cid:82)(cid:3)(cid:68)(cid:87)(cid:87)(cid:72)(cid:81)(cid:71)(cid:3)(cid:87)(cid:75)(cid:72)(cid:3)(cid:89)(cid:68)(cid:85)(cid:76)(cid:82)(cid:88)(cid:86)(cid:3)(cid:70)(cid:82)(cid:81)(cid:73)(cid:72)(cid:85)(cid:72)(cid:81)(cid:70)(cid:72)(cid:86)(cid:3)(cid:90)(cid:75)(cid:72)(cid:85)(cid:72)(cid:3)(cid:80)(cid:82)(cid:86)(cid:87)(cid:3)(cid:82)(cid:73)(cid:3)(cid:87)(cid:75)(cid:72)(cid:3)(cid:83)(cid:68)(cid:83)(cid:72)(cid:85)(cid:86)(cid:3)(cid:82)(cid:73)(cid:3)(cid:87)(cid:75)(cid:76)(cid:86)(cid:3) (cid:83)(cid:88)(cid:69)(cid:79)(cid:76)(cid:70)(cid:68)(cid:87)(cid:76)(cid:82)(cid:81)(cid:3)(cid:90)(cid:72)(cid:85)(cid:72)(cid:3)(cid:3029)(cid:85)(cid:86)(cid:87)(cid:3)(cid:83)(cid:85)(cid:72)(cid:86)(cid:72)(cid:81)(cid:87)(cid:72)(cid:71)(cid:17) Vera Hollander was a much appreciated partner in the last stage of preparing this publication for print. Her careful editing and linguistic supervision were invaluable to me. (cid:36)(cid:81)(cid:71)(cid:3)(cid:3029)(cid:81)(cid:68)(cid:79)(cid:79)(cid:92)(cid:15)(cid:3)(cid:1445)(cid:89)(cid:76)(cid:72)(cid:79)(cid:72)(cid:81)(cid:3)(cid:39)(cid:68)(cid:81)(cid:78)(cid:1446)(cid:3)(cid:87)(cid:82)(cid:3)(cid:54)(cid:72)(cid:87)(cid:75)(cid:3)(cid:58)(cid:72)(cid:76)(cid:81)(cid:72)(cid:85)(cid:3)(cid:73)(cid:82)(cid:85)(cid:3)(cid:75)(cid:76)(cid:86)(cid:3)(cid:68)(cid:85)(cid:87)(cid:76)(cid:86)(cid:87)(cid:76)(cid:70)(cid:3)(cid:68)(cid:71)(cid:89)(cid:76)(cid:70)(cid:72)(cid:3)(cid:68)(cid:81)(cid:71)(cid:3)(cid:73)(cid:82)(cid:85)(cid:3)(cid:75)(cid:72)(cid:79)(cid:83)(cid:76)(cid:81)(cid:74)(cid:3)(cid:87)(cid:82)(cid:3) enable the project’s appearance in book form. 11 Introductory Remarks 17 Conscious and Semi-Conscious States of the Camera Comments on a History of Photographic Parapraxes 33 Dressed to Suffer and Redeem Staged Photography Featuring Biblical Narratives 55 Blocked View and Impeded Vision An Affective Response to the Photographs of Maria Hahnenkamp and Thomas Struth 73 Unedited Glamor The Vienna Opera Ball and Its Rendition by Network Cameras 95 Lost in Pleasure Mad Joy in Images of Youth Culture 113 Death Can Wait Images of Old Age and Dying in Austrian Hospice Campaigns 137 “The Beast” On the Photographic Staging of the Large Hadron Collider at the Nuclear Research Center in Geneva 151 Denigrative Views On the Deconstruction of Visages in Print Media 163 The White Handbag Photography and Ownership

At Face Value and Beyond: Photographic Constructions of Reality PDF

189 Pages·2016·16.678 MB·English

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Author:	Monika Schwärzler
Publication Year:	2016
ISBN:	9783837629545
Pages:	189
Language:	English
File Size:	16.678
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