Within the larger context of cultural memory, family pictures have become one of the most intriguing multi- and interdisciplinary fields of investigation in the past decade. This field brings together artists working in different media (e.g. documentary photography and film, photo-based painting and installations, digital art, collage, montage, comics, etc.) as well as academics, critics, theorists and writers working in a wide range of disciplines including literature, history, art history, sociology, anthropology, psychoanalysis, film and media studies, visual culture studies, gender studies, postcolonial studies, and word and image studies. This volume intends to offer a broad, panoramic view of the topic combining West and East European as well as American perspectives.
- Cover
- Title page
- Copyright page
- Table of contents
- Introduction
- PHOTO AS AUTOBIOGRAPHY
- Incongruous Images: “Before, During, and After” the Holocaust
- Beguiled by Loss: The Burden of Third-Generation Narrative
- The Baghdadi Jew and His Chinese Mistress
- PHOTO AND TEXT
- History, Narration, and the Frozen Moment of Photography in Richard Powers’ Three Farmers on Their Way to a Dance and Theresa Hak Kyung Cha’s Dictée
- Memory and/or Construction: Family Images in W.G. Sebald’s Austerlitz
- PRIVATE AND PUBLIC ARCHIVES
- Virtual Communities of Intimacy: Photography and Immigration
- Buried Images: Photography in the Cult of Memory of the 1956 Revolution
- A Farewell to Private Photography
- EVENTfulness: Family Archives as Events/Folds/Veils
- FAMILY ALBUM
- Visualizing Male Homosexuality in the Family Album
- Please Recycle! On Ágnes Eperjesi’s Family Album
- OBJECT/PHOTO/REALITY
- From Photo to Object: Personal Documents as History-Writing in the Works of Christian Boltanski and Ilya Kabakov
- Home Museum: An Installation by Katarina Šević and Gergely László
- CONTRIBUTORS
- Back cover
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