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Call for Papers: “Camera Memoria: Photographic Memories from the Margins”

This issue seeks to bring together contributions from both emerging and established scholars of U.S.-American photography. Since 2017, the seminar Camera Memoria (University Paris-Diderot/LARCA) has provided a space to discuss new perspectives on the relatively recent field of photo-history. This special issue for Miranda aims to reflect both the broad range of topics that are currently explored in the field and the diversity of scholarly approaches—these include American history, art history, visual studies and cultural studies. The seminar was organized so as to give visibility to scholars who recognized the need to look beyond classical and widely discussed topics and to revitalize the field of photo-history with new research methodologies in mind. This implied a thorough reconsideration of scholarly approaches; made it necessary to look not only at the esthetics and social agency behind the construction of photographic collections, but also at their means of circulation and mediation; and raised debates on the historiographies of the medium, of their agents and their impacts. These attempts at renewing our views on photography at the start of the 21st century cannot, however, be restricted to new methodological and theoretical approaches, but require that old, untouched archival materials be opened up to scholars. This contributes to evening the field of photo-history by integrating into it material that used to be considered marginal. 

Contributions suggested for this issue should broadly address the notion of photographic memory, in relation to marginalized collections and agents. We look for archives and collections that have been newly discovered or innovative conceptualizations of familiar materials. We seek to integrate comments on the uses of photography that challenge dominant historical discourse and restore visibility to marginal or forgotten subject matters until now put aside either because they were deemed unimportant (materials labeled as “vernacular”) or because they gave visibility to racial, social, sexual or cultural minorities. 

Our focus on ‘everyday’ photography and hyphenated identities reflects current scholarly and historiographical trends in the field. The issue will reflect a strong interest in 1) unearthing underexplored archives of anonymous photographs with little value within the fine-art context, which are nowadays recontextualized as meaningful objects of society; 2) addressing the contemporary efforts at decolonizing history by drawing attention to the perpetuation of dominant narratives through photography and by developing new methodological tools with which to approach photography stemming from hyphenated U.S.-American identities, including but not restricted to both race and gender.

How to submit a paper

Essays may be written in French or English, count 5,000 – 10,000 words, and include up to 10 illustrations (the rights should be acquired by the author). Miranda works with a triple-blind peer-review process. 

Stylesheet: https://journals.openedition.org/miranda/5581

Abstracts, papers and all questions should be sent to Carolin Görgen and Camille Rouquet, only at camera.memoria@gmail.com

Deadlines

  • September 30, 2020: deadline for sending in abstracts (up to 500-word)
  • October 2020: authors notified of editors’ selection
  • February 28, 2021: deadline for sending in first drafts of papers 
  • March 2021-February 2022: peer-review process and corrections
  • Spring 2022: final publication

Second Season – CFP 2017-2018

Camera Memoria
Séminaire sur les histoires de la photographie LARCA – UMR 8225

Appel à contributions 

Scroll down for English version

Après de nombreux échanges fructueux au premier semestre 2017, le séminaire Camera Memoria entre dans son deuxième cycle à la rentrée 2017. Dans le cadre de ce séminaire, des chercheurs issus de divers horizons étudieront les usages historiques de la photographie dans les communautés anglophones et leur influence à travers le monde.

Dès sa création, la photographie s’est imposée comme objet artistique mais aussi comme outil de mémoire ; elle s’est ensuite rapidement développée comme une pratique polyvalente, capable de cristalliser des moments historiques en clichés uniques ou au contraire de les exposer (ou au moins d’en collecter la trace) sous forme de documentation exhaustive. L’émergence d’une histoire culturelle de la photo américaine (Trachtenberg) puis des visual studies (Mitchell, Mirzoeff) atteste de la forte culture visuelle qui fait la spécificité du monde anglophone. Cette sensibilité aux images se reflète dans une « mémoire collective » (notion sans doute à discuter) largement construite sur les traces photographiques du passé.

L’allocation d’un nouvel espace aux photographies dans les musées et les archives a contribué à leur institutionnalisation, qui à son tour a renforcé le processus de construction de la mémoire collective par l’image. C’est en entrant dans cet espace institutionnalisé, prétendument objectif, que la photographie devient sujette à critiques. Ses pratiques modernes sont parfois considérées comme immémorables ou même iconoclastes lorsque la vie d’une image est trop courte, sa composition trop épurée, ou son contenu trop immoral ; nous étudierons alors les rôles que joue la photographie dans la construction – ou la déconstruction – de la mémoire, et examinerons les courants de pensée qui la valorisent et la critiquent.

Ce séminaire pourra accueillir des doctorants, docteurs et professeurs en sciences humaines – et le cas échéant en sciences dures – que leur approche relève des études culturelles, historiques, sociologiques, esthétiques, rhétoriques, politiques, anthropologiques ou encore économiques. Les interventions pourront comporter des questions méthodologiques et se baseront sur des théories et méthodologies variées (un ancrage en cultural studies et dans les bibliographies anglophones est bienvenu sans être requis). Ainsi, les pratiques photographiques, pourront être étudiées comme art, illustration, expression médiatique, documentation, enquête, etc. Les communications pourront concerner, sans s’y restreindre, les usages et applications muséaux, mémoriaux, discursifs et d’archive, dans les espaces privés, publics, collectifs, individuels, communautaires, ou universels.

Le séminaire débutera en octobre 2017 à l’université Paris Diderot et sera bimestriel. Au nombre de deux par séance, les communications se feront en anglais ou en français, dureront 30 à 40 minutes, et seront suivies d’une discussion.

Comité d’organisation: Camille Rouquet et Carolin Görgen, doctorantes au LARCA-UMR 8225. Parrainage LARCA-François Brunet, Université Paris Diderot.

Merci d’envoyer vos propositions de communication (350 mots maximum) ainsi qu’une courte notice biographique à camera.memoria@gmail.com avant le 15 juin 2017.

 
Camera Memoria
Seminar on the histories of photography LARCA – UMR 8225

Call for papers

Due to the great number of fruitful exchanges at the beginning of this year, the seminar Camera Memoria enters its second round at the beginning of the academic year 2017/18. We seek to bring together researchers from various backgrounds to study the uses of photography in the English- speaking world as well as their global impact.

From its inception, photography has been an instrument of memory-making as well as an artistic endeavor; it has become a versatile practice allowing to capture historical moments in the form of unique prints or, on the contrary, to expose them as comprehensive documentation or at least as material traces. With the emergence of a cultural history of American photography (Trachtenberg) as well as the rise of visual studies (Mitchell, Mirzoeff), the strong visual culture which is a particularity of the Anglo-American world, has become apparent. This heightened sensibility to images is reflected in a « collective memory » (not an uncontested notion) which is mainly constructed through photographic traces of the past.

The attribution of new spaces granted to photography in museums and archives has contributed to its institutionalization which, in turn, has reinforced the process of collective memory-making through images. When entering these institutionalized – allegedly objective – spaces, photography becomes subject to critical examination. Its contemporary practices are at times considered immemorable or even iconoclastic when the life of an image is ephemeral, its content limited or perhaps immoral. We therefore want to study the function(s) of photography in the construction – or the deconstruction – of memory by examining the various theories which appreciate and criticize this aspect.

This seminar welcomes proposals by doctoral candidates, PhDs, and professors in the humanities – and, when relevant, in the  »hard sciences » – who adopt a cultural, historical, sociological, esthetic, rhetorical, political, anthropological, or economic approach to the medium. Papers may treat methodological questions by re-examining existing theories (an attachment to cultural studies would be appreciated but is not required per se). From this perspective, photographic practices can be examined through the lens of art, illustration, press and other media coverage, documentation, survey, etc. Proposals may include but are not limited to the uses and applications of photography in museums, archives, memorial and discursive practices, as well as in private or public spaces, collective or individual uses, communal or universal spaces.

The seminar will start in October 2017, at the University Paris VII Denis Diderot and will take place every two months. Limited to two speakers per session, communications of about 30 to 40 minutes will be held in French or English, followed by a discussion.

Organizing committee: Camille Rouquet and Carolin Görgen, PhD candidates at the LARCA-UMR 8225. Sponsorship LARCA-François Brunet, Université Paris Diderot.

Please send your proposals (350 words or less) accompanied by a short biographical notice to camera.memoria@gmail.com by June 15, 2017. 

First Season – CFP 2017

Camera Memoria

Séminaire sur les histoires de la photographie

LARCA – UMR 8225

 

Appel à contributions

 

Scroll down for English version

 

Dans le cadre de ce nouveau séminaire, des chercheurs issus de divers horizons étudieront les usages historiques de la photographie dans les communautés anglophones et leur influence à travers le monde. 

 

Dès sa création, la photographie s’est imposée comme objet artistique mais aussi comme outil de mémoire ; elle s’est ensuite rapidement développée comme une pratique polyvalente, capable de cristalliser des moments historiques en clichés uniques ou au contraire de les exposer (ou au moins d’en collecter la trace) sous forme de documentation exhaustive. L’émergence d’une histoire culturelle de la photo américaine (Trachtenberg) puis des visual studies (Mitchell, Mirzoeff) atteste de la forte culture visuelle qui fait la spécificité du monde anglophone. Cette sensibilité aux images se reflète dans une « mémoire collective » (notion sans doute à discuter) largement construite sur les traces photographiques du passé.  

L’allocation d’un nouvel espace aux photographies dans les musées et les archives a contribué à leur institutionnalisation, qui à son tour a renforcé le processus de construction de la mémoire collective par l’image. C’est en entrant dans cet espace institutionnalisé, prétendument objectif, que la photographie devient sujette à critiques. Ses pratiques modernes sont parfois considérées comme immémorables ou même iconoclastes lorsque la vie d’une image est trop courte, sa composition trop épurée, ou son contenu trop immoral ; nous étudierons alors les rôles que joue la photographie dans la construction—ou la déconstruction—de la mémoire, et examinerons les courants de pensée qui la valorisent et la critiquent. 

 

Ce séminaire pourra accueillir des doctorants, docteurs et professeurs en sciences humaines—et le cas échéant en sciences dures—que leur approche relève des études culturelles, historiques, sociologiques, esthétiques, rhétoriques, politiques, anthropologiques ou encore économiques. Les interventions pourront comporter des questions méthodologiques et se baseront sur des théories et méthodologies variées (un ancrage en cultural studies et dans les bibliographies anglophones est bienvenu sans être requis). Ainsi, les pratiques photographiques, pourront être étudiées comme art, illustration, expression médiatique, documentation, enquête, etc. Les communications pourront concerner, sans s’y restreindre, les usages et applications muséaux, mémoriaux, discursifs et d’archive, dans les espaces privés, publics, collectifs, individuels, communautaires, ou universels.

 

Le séminaire débutera en janvier 2017 à l’université Paris Diderot et sera bimestriel. Au nombre de deux par séance, les communications se feront en anglais ou en français, dureront 30 à 40 minutes, et seront suivies d’une discussion.

 

Comité d’organisation : Camille Rouquet et Carolin Görgen, doctorantes au LARCA-UMR 8225. Parrainage LARCA-François Brunet, Université Paris Diderot.

 

Merci d’envoyer vos propositions de communication (350 mots maximum) ainsi qu’une courte notice biographique à camera.memoria@gmail.com avant le 31 octobre 2016.

 

 

Camera Memoria

Seminar on the histories of photography

LARCA – UMR 8225

 

Call for papers

This seminar seeks to bring together researchers from various backgrounds to study the uses of photography in the English-speaking world as well as their global impact.

 

From its inception, photography has been an instrument of memory-making as well as an artistic endeavor; it has become a versatile practice allowing to capture historical moments in the form of unique prints or, on the contrary, to expose them as comprehensive documentation or at least as material traces. With the emergence of a cultural history of American photography (Trachtenberg) as well as the rise of visual studies (Mitchell, Mirzoeff), the strong visual culture which is a particularity of the Anglo-American world, has become apparent. This heightened sensibility to images is reflected in a “collective memory” (not an uncontested notion) which is mainly constructed through photographic traces of the past.

The attribution of new spaces granted to photography in museums and archives has contributed to its institutionalization which, in turn, has reinforced the process of collective memory-making through images. When entering these institutionalized – allegedly objective – spaces, photography becomes subject to critical examination. Its contemporary practices are at times considered immemorable or even iconoclastic when the life of an image is ephemeral, its content limited or perhaps immoral. We therefore want to study the function(s) of photography in the construction – or the deconstruction – of memory by examining the various theories which appreciate and criticize this aspect.

 

This seminar welcomes proposals by doctoral candidates, PhDs, and professors in the humanities – and, when relevant, in the  »hard sciences » – who adopt a cultural, historical, sociological, esthetic, rhetorical, political, anthropological, or economic approach to the medium. Papers may treat methodological questions by re-examining existing theories (an attachment to cultural studies would be appreciated but is not required per se). From this perspective, photographic practices can be examined through the lens of art, illustration, press and other media coverage, documentation, survey, etc. Proposals may include but are not limited to the uses and applications of photography in museums, archives, memorial and discursive practices, as well as in private or public spaces, collective or individual uses, communal or universal spaces.

 

The seminar will start in January 2017, at the University Paris VII Denis Diderot and will take place every two months. Limited to two speakers per session, communications of about 30 to 40 minutes will be held in French or English, followed by a discussion.

 

Organizing committee: Camille Rouquet and Carolin Görgen, PhD candidates at the LARCA-UMR 8225. Sponsorship LARCA-François Brunet, Université Paris Diderot.

 

Please send your proposals (350 words or less) accompanied by a short biographical notice to camera.memoria@gmail.com by October 31, 2016.