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An examination of the contradictions within a form of expression that is both public and private, specific and abstract, conventional and countercultural. Snapshots capture everyday occasions. Taken by amateur photographers with simple point-and-shoot cameras, snapshots often commemorate something that is private and personal; yet they also reflect widely held cultural conventions. The poses may be formulaic, but a photograph of loved ones can evoke a deep affective response. In Snapshot Photography, Catherine Zuromskis examines the development of a form of visual expression that is both public and private. Scholars of art and culture tend to discount snapshot photography; it is too ubiquitous, too unremarkable, too personal. Zuromskis argues for its significance. Snapshot photographers, she contends, are not so much creating spontaneous records of their lives as they are participating in a prescriptive cultural ritual. A snapshot is not only a record of interpersonal intimacy but also a means of linking private symbols of domestic harmony to public ideas of social conformity. Through a series of case studies, Zuromskis explores the social life of snapshot photography in the United States in the latter half of the twentieth century. She examines the treatment of snapshot photography in the 2002 film One Hour Photo and in the television crime drama Law and Order: Special Victims Unit; the growing interest of collectors and museum curators in “vintage” snapshots; and the “snapshot aesthetic” of Andy Warhol and Nan Goldin. She finds that Warhol’s photographs of the Factory community and Goldin’s intense and intimate photographs of friends and family use the conventions of the snapshot to celebrate an alternate version of “family values.” In today’s digital age, snapshot photography has become even more ubiquitous and ephemeral—and, significantly, more public. But buried within snapshot photography’s mythic construction, Zuromskis argues, is a site of democratic possibility.
Snapshot is the real story of how to profile anyone so you can treat people right the first time.
'Snapshot Chronicles' is a visual exploration of the creative outpouring made possible by the camera.
From the sod houses of South Dakota to the skyscrapers of New York City, these personal photographs form the first people's photo history of America.
A glorious collection of some 70 remarkable photographs of Beat writers and personalities taken by Ginsberg between 1953 and 1991 in venues from San Francisco to New York to Tangier. Originally published in Germany and re-edited for the present edition. Annotation copyright by Book News, Inc., Portland, OR
When Jake Dobson finds a lost cell phone, he's horrified to discover it's full of snapshots of a murder victim. Suddenly he finds himself hunted by a ruthless hit-man who will stop at nothing to recover his "proof of kill" photos - and silence Jake forever! Collects SNAPSHOT #1-4
It takes months for Australian social psychologist Janine McQuarrie to succumb to her husband’s pressure to attend spouse-swapping parties, but eventually she gives in. Then, driving with her young daughter one day, she gets out of her car to ask directions and is shot and killed. The little girl escapes when the gunman's pistol misfires. Inspector Hal Challis of the Crime Investigation Unit is assigned the case, but his efforts are thwarted by his boss. The dead woman was Superintendent McQuarrie’s daughter-in-law, and he seems to be more interested in protecting his son than in finding his daughter-in-law’s murderer. Who might have a motive to kill this attractive young wife and mother? One of her clients? One of the swingers she’d gotten together with at a party? Or, the obvious suspect, her husband?
Snapshot Versions of Life is an important foray into the culture of photography and home life from an anthropologist's perspective. Examining what he calls "Home Mode" photography, Richard Chalfen explores snapshots, slide shows, family albums, home movies, and home videos, uncovering what people do with their photos as well as what their personal photos do for them. Chalfen's "Polaroid People" are recognizable--if ironically viewed--relatives, uncles, aunts, and All-American kids. As members of "Kodak Culture" they watch home movies, take pictures of newborn babies, and even, in their darker moments, scratch out the faces of disliked relatives in group photographs. He examines who shoots these photos and why, as well as how they think (or don't) of planning, editing, and exhibiting their shots. Chalfen's analysis reveals the culturally structured behavior underlying seemingly spontaneous photographic activities.