The Photograph as an Intersection of Gazes: The Example of National Geographic

Lutz, Catherine; Collins, Jane L.

doi:10.1525/var.1991.7.1.134

Cited by 53 publications

(35 citation statements)

References 17 publications

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“…Images contain textual arrangements and discursive practices, producing multi-layered cultural messages in which creator, subject and viewer all play their roles, and which rely on cultural and historical contexts and on experiential knowledge (Barthes 1977). Images are dynamic sites at which many gazes and ways of seeing intersect (Lutz & Collins 2003). Just as illustrators' gazes are mediated by cultural, social and historical contexts, so are the gazes of viewers of the images.…”

Section: Ways Of Seeingmentioning

confidence: 99%

The tension between emotive/aesthetic and analytic/scientific motifs in the work of amateur visual documenters of Antarctica's Heroic Era

Millar

2017

Polar Record

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Visual documenters made a major contribution to the recording of the Heroic Era of Antarctic exploration. By far the best known were the professional photographers, Herbert Ponting and Frank Hurley, hired to photograph British and Australasian expeditions. But a great number of images – photographs and artworks – were also produced by amateurs on lesser known European expeditions and a Japanese one. These amateurs were sometimes designated official illustrators, often scientists recording their research. This paper offers a discursive examination of illustrations from the Belgian Antarctic Expedition (1897–1899), German Deep Sea Expedition (1898–1899), German South Polar Expedition (1901–1903), Swedish South Polar Expedition (1901–1903), French Antarctic Expedition (1903–1905) and Japanese Antarctic Expedition (1910–1912), assessing their representations of exploration in Antarctica in terms of the tension between emotive/aesthetic and systematic analytic/scientific motifs. Their depictions were influenced by their illustrative skills and their ‘ways of seeing’, produced from their backgrounds and the sponsorship needs of the expedition.

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Section: Ways Of Seeingmentioning

confidence: 99%

The tension between emotive/aesthetic and analytic/scientific motifs in the work of amateur visual documenters of Antarctica's Heroic Era

Millar

2017

Polar Record

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“…This allows us the possibility of understanding how the visual artifact produced during the course of the examination comes to be so unsettling. The photograph is a space in which gazes intersect (Lutz and Collins 1991). However, the viewer's gaze not only intersects with the victim's gaze as the photographic object.…”

Section: Presenting Person and Pelvis: Removing The Drapementioning

confidence: 99%

Facing Victims: Forensics, Visual Technologies, and Sexual Assault Examination

Mulla

2011

Medical Anthropology

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This article analyzes a particular legal-medical artifact: the photos of wounds and injuries collected by forensic nurses who work with sexual assault victim-patients. I show how forensic expertise draws on multiple medical practices and adapts these practices with the goal of preserving the integrity of the evidence collection processes. In particular, forensic nurse examiners practice a rigid regime of draping and avoiding the victim-patient's gaze at some points in the forensic routine while engaging the victim's gaze at other points in the examination. Unlike the examination, the photograph itself deliberately pictures the patient's gaze to break the plane of the image, giving the photographic artifact an affective charge as a truth-preserving object within a juridical process. Focusing on forensic photography sheds light on the techno-scientific possibilities that enable forensic encounters as they align therapeutic techniques with legal directives in new and problematic ways.

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“…This is an important example; while NG photography has been abundantly admired, the use and interpretation of NG images has often been uncritical-a kind of what-you-see-is-whatyou-get. But recently some authors have drawn scholarly attention to details of this 'camera-look' and the intentionally structured results of this way of looking and reporting human scenery (Lutz and Collins, 1991;O'Barr, 1994).…”

Section: Social Science Camera Use For Looking and Seeingmentioning

confidence: 99%

Looking Two Ways: Mapping the Social Scientific Study of Visual Culture

Чалфен¹

2011

The SAGE Handbook of Visual Research Methods

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The Photograph as an Intersection of Gazes: The Example of National Geographic

Cited by 53 publications

References 17 publications

The tension between emotive/aesthetic and analytic/scientific motifs in the work of amateur visual documenters of Antarctica's Heroic Era

The tension between emotive/aesthetic and analytic/scientific motifs in the work of amateur visual documenters of Antarctica's Heroic Era

Facing Victims: Forensics, Visual Technologies, and Sexual Assault Examination

Looking Two Ways: Mapping the Social Scientific Study of Visual Culture

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