Rephotography and the situating of then-and-now

Lewi, Hannah; Murray, Andrew

doi:10.4324/9780429506765-37

Cited by 2 publications

(2 citation statements)

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“…2 As McLeod (2019) explains, the prevalence of rephotography has recently increased in popular visual culture through an association with a plethora of visual practices and genres, such as 'before-and-after', 'then-and-now', 'ghosting' and 'superimposed photography' (Bear and Palmer Albers 2017;Munteán 2015). This recent surge in popularity of repeat-imagery and image layering within creative mass media, public institutions and intimate visual cultures is linked to the new digital habits of post-production photography and image sharing through social media platforms (Lewi and Murray 2020;Munteán 2016). The popularisation of rephotography brings with it the possibility of manipulating spacetime on different scales in a way that differs from -and conceptually precedes -the engineering of time and space allowed by filmic montage and other editing techniques (Clarke and Doel 2007).…”

Section: Expanding the Photography And Mobility Nexusmentioning

confidence: 99%

“…Here, re-capturing is encountered when in motion, and temporal variations are perceived when walking and revisiting. Interestingly, it has been noted that current popularised rephotography enhances the ability of the still image to render the dynamic passing of time and produce animating effects on image archives (Lewi and Murray 2020).…”

Section: Expanding the Photography And Mobility Nexusmentioning

confidence: 99%

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Repetition, movement and the visual ontographies of urban rephotography: learning from Smoke (1995)

Rossetto

Vanolo

2021

Mobilities

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Engaging with a scene of the iconic movie Smoke (by Wayne Wang, 1995) in which a rephotographic project is sensitively elicited, this paper addresses the technique of repeat photography to contribute to methodological debates that have arisen within the nascent 'Mobility and Humanities' subfield. Through a humanistic perspective, the paper reviews and expands the nexus between mobility, photography and the urban by comparing the technique with three methodological issues: the blurring of supposed binaries, such as traditional/innovative, static/moving and fast/slow; the possibility of grasping the mobilities of the world in a post-human vein; and the opportunity to also consider techniques as sites for reflection. To address these issues, the paper draws from philosophies of movement, post-phenomenological and object-oriented stances and visual and urban cultural geographies. With reference to the urban realm, this paper proposes three perspectives on rephotography, namely (1) rephotography as a practice of slow and rhythmic attunement with circumstantial spacetimes moving backwards and forwards; (2) rephotography as a visual ontography that displaces the human and opens up space for the apprehension of the agency and mobility of things; and (3) rephotography as a continual process of activation of moving gazes on cities and their imaginaries.

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Section: Expanding the Photography And Mobility Nexusmentioning

confidence: 99%

Section: Expanding the Photography And Mobility Nexusmentioning

confidence: 99%