Photography as Ethnographic Passport

Marion, Jonathan S.

doi:10.1111/j.1548-7458.2010.01045.x

Cited by 16 publications

(9 citation statements)

References 1 publication

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“…Anthropologist Jonathan Marion (2010) talks about the camera as a kind of ethnographic passport. Street photography frequently descends into the viscera as well.…”

Section: Luvaasmentioning

confidence: 99%

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The Affective Lens

Luvaas

2017

Anthropology and Humanism

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Engaging in ethnographic fieldwork often requires overcoming considerable inertia and fighting back feelings of cynicism and alienation toward the place and people studied. Street photography can be one means of overcoming these setbacks. Requiring its practitioners to get out on the streets and directly engage with the people on them, it can fast track an ethnographer's emotional connection to a place, changing its affective landscape for them and redefining their experience of being there. This photo essay draws from the author's 2016 fieldwork trip to Jakarta, Indonesia to demonstrate how photography can serve not just as an aid to memory, a supplement to field notes, or a documentation of everyday life but as a tool for emotional investment. [affect, Indonesia, photo essay, photography, street]

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“…Anthropologist Jonathan Marion (2010) talks about the camera as a kind of ethnographic passport. Street photography frequently descends into the viscera as well.…”

Section: Luvaasmentioning

confidence: 99%

“…For us, the anthropologists in the field, photography can become a bridge to our interlocutors, a tool for reaching out. Anthropologist Jonathan Marion (2010) talks about the camera as a kind of ethnographic passport. It opens doors.…”

Section: Luvaasmentioning

confidence: 99%

The Affective Lens

Luvaas

2017

Anthropology and Humanism

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“…Such wide angles provide the context for each subject and demonstrate the relationship I have with each person, allowing me into his or her personal space in order to make the image. Throughout this process, my camera is a part of my presence and an integral facet of my research, both allowing me to assess and analyze social and cultural dynamics in ways that words cannot, and also providing a means to return value to my research participants (Marion ). For instance, I return my photos to participants in albums, which have over the years generated many extensive conversations, ones I could have never had with them in the past, but with the passage of time are now suitable for discussion.…”

Section: Introductionmentioning

confidence: 99%

Becoming Luis: A Photo Essay on Growing up in Bolivia

Crowder

2013

Visual Anthropology Review

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Luis is anAymara boy whom I have known since his birth in 1996. Although he and his mother were not initially central to my research on migration in the Andes, they belong to the family I worked with in El Alto, Bolivia. During a return visit ten years later, I recognized the importance of his story within my research, and thus reviewed my field notes and photo library to find images and stories about them. Photography plays a major role in my research, as I use images as mementos as well as stimuli for discussion. With the benefit of 20/20 hindsight and 15 years' distance, Luis and Basilia represent the quintessential migrant experience, one I may have overlooked if I had not asked new questions of old data.

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“…Discussions of photography as a form of evidence are found in, among many others, Benjamin (), Morton and Edwards (), Marion (), Rorty (), and Sontag (). Paralleling this perspective, early anthropologists, often skeptical of native testimony and/or unable to speak the native language, looked to the photograph as a form of “raw” data from the field (Pinney ).…”

mentioning

confidence: 98%

Appropriating Iconicity: Why Tank Man Still Matters

Hubbert¹

2014

Visual Anthropology Review

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This article explores the reappropriation of iconic photographs, examining what happens when the iconic "Tank Man" image is modified and repurposed to new political ends. It argues that such reappropriations push viewers to read against the grain of ontological security because the ubiquity of the originals motivates the questioning of taken-for-granted meaning in new contexts. In this case, the 21st-century reappropriated Tank Man images speak less about the absence of political liberalism and democracy in China that were encapsulated in the original Tank Man image and more about their absence in the contemporary United States. At the same time, they also reflect changing global hierarchies in which the United States no longer automatically occupies a position of power relative to China. As such, reappropriations of iconic photographs have the potential to mobilize collective memory and political imaginations to new ends. [appropriation, China, icon, photography, Tank Man, Tiananmen]

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Photography as Ethnographic Passport

Cited by 16 publications

References 1 publication

The Affective Lens

The Affective Lens

Becoming Luis: A Photo Essay on Growing up in Bolivia

Appropriating Iconicity: Why Tank Man Still Matters

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