[1]
Albers, K.P. 2015. Uncertain histories: accumulation, inaccessibility, and doubt in contemporary photography. University of California Press.
[2]
Anderson, P. 1998. The origins of postmodernity. Verso.
[3]
Art History and Visual Culture - LibGuides at University of Exeter: http://libguides.exeter.ac.uk/AHVCHomePage.
[4]
Auslander, P. 2006. ‘The Performativity of Performance Documentation’ [in] PAJ: A Journal of Performance Art. PAJ: A Journal of Performance Art. 28, 3 (2006), 1–10.
[5]
Azoulay, A. 2013. ‘“The Family of Man”: A Visual Universal Declaration of Human Rights’ [in] The human snapshot. The human snapshot. Luma Foundation.
[6]
Bank, A. 2001. ‘ANTHROPOLOGY AND PORTRAIT PHOTOGRAPHY: GUSTAV FRITSCH’S “NATIVES OF SOUTH AFRICA”, 1863-1872’ [in] Kronos. Kronos. 27 (2001), 43–76.
[7]
Barthes, R. 1993. Camera lucida: reflections on photography. Vintage.
[8]
Barthes, R. et al. 2013. Mythologies. Hill and Wang, a division of Farrar, Strauss and Giroux.
[9]
Baudrillard, J. 1994. Simulacra and simulation. University of Michigan Press.
[10]
Behdad, A. and Gartlan, L. 2013. Photography’s Orientalism: new essays on colonial representation. Getty Research Institute.
[11]
Benjamin, W. 1972. ‘A short history of photography’. Screen. 13, Issue 1, p5-26 (1972), 5–26.
[12]
Berger, J. 1972. Ways of seeing. British Broadcasting Corporation.
[13]
Blatt, A.J. 2009. ‘Phototextuality: photography, fiction, criticism’ [in] Visual Studies. (2009).
[14]
Bray, R.S. 2014. ‘Rotten Prettiness - The Forensic Aesthetic and Crime as Art’ [in] Australian Feminist Law Journal. Australian Feminist Law Journal. 40, 2014 (2014), 69–962014.
[15]
Burgin, V. 1982. ‘Looking at Photographs’ [in] Thinking photography. Thinking photography. Macmillan.
[16]
Burgin, V. 1982. Thinking photography. Macmillan.
[17]
Butler, J. 2007. ‘Torture and the ethics of photography’ [in] Environment & Planning D: Society & Space. Environment & Planning D: Society & Space. 25, Issue 6 (2007), 951–966. DOI:https://doi.org/10.1068/d2506jb.
[18]
Caruso, M. 2016. Italian humanist photography from fascism to the Cold War. Bloomsbury.
[19]
Clarke, G. 1997. The photograph. Oxford University Press.
[20]
Clarke, G. 1997. ‘What is a Photograph?’ [in] The photograph. The photograph. Oxford University Press.
[21]
Dijck, J. van 2005. ‘X-Ray Vision in Thomas Mann’s The Magic Mountain’ [in] The transparent body: a cultural analysis of medical imaging. The transparent body: a cultural analysis of medical imaging. University of Washington Press.
[22]
Edwards, E. 1992. Anthropology and photography, 1860-1920. Yale U. P. in association with The Royal Anthropological Institute.
[23]
Engel, C.E. 1961. ‘II. PHOTOGRAPHY IN MEDICINE’ [in] Journal of the Royal Society of Arts. Journal of the Royal Society of Arts. 109, 5061 (1961).
[24]
Foster, H. 2002. The anti-aesthetic: essays on postmodern culture. New Press.
[25]
Garb, T. 2014. ‘Rethinking Sekula from the Global South: Humanist Photography Revisited’ [in] Grey Room. (2014), 34–57.
[26]
Harris, C. 2016. Photography and Tibet. Reaktion Books.
[27]
Henning, M. 2017. Photography. The unfettered image. Routledge Ltd.
[28]
Hershberger, A.E. 2006. ‘Krauss’s Foucault and the Foundations of Postmodern History of Photography’ [in] History of Photography. History of Photography. 30, Issue 1 (2006), 55–67.
[29]
hooks, bell 2015. ‘Postmodern Blackness’ [in] Yearning: race, gender, and cultural politics. Yearning: race, gender, and cultural politics. Routledge.
[30]
Jones, A. 1997. ‘“Presence” in Absentia: Experiencing Performance as Documentation’ [in] Art Journal. (1997).
[31]
Jones, A. 2006. Self/image: technology, representation, and the contemporary subject. Routledge.
[32]
Marshall, P.D. 2010. ‘The promotion and presentation of the self: celebrity as marker of presentational media’ [in] Celebrity Studies. Celebrity Studies. 1, 1 (2010), 35–48. DOI:https://doi.org/10.1080/19392390903519057.
[33]
Mirzoeff, N. 2016. How to see the world: an introduction to images, from self-portraits to selfies, maps to movies, and more. Basic Books, a member of the Perseus Books Group.
[34]
Mirzoeff, N. 2016. ‘The World of War’ [in] How to see the world: an introduction to images, from self-portraits to selfies, maps to movies, and more. How to see the world: an introduction to images, from self-portraits to selfies, maps to movies, and more. Basic Books, a member of the Perseus Books Group.
[35]
Mortenson, E. 2014. ‘The Ghost of Humanism: Rethinking the Subjective Turn in Postwar American Photography’ [in] History of Photography. History of Photography. (2014). DOI:https://doi.org/10.1080/03087298.2014.899747.
[36]
Phelan, P. 1993. ‘The Ontology of Performance: Representation without Reproduction’ [in] Unmarked: the politics of performance. Unmarked: the politics of performance. Routledge.
[37]
Sontag, S. 2004. Regarding the pain of others. Penguin.
[38]
Sontag, S. 2004. ‘Regarding The Torture Of Others’ [in] The New York Times. (2004).
[39]
Steichen, E. 1983. The family of man: the greatest photographic exhibition of all time. The Museum of Modern Art.
[40]
Trifonova, T. 2014. ‘Photography and the Construction of Psychopathology at the Fin de Siecle’ [i] Warped minds: cinema and psychopathology. Warped minds: cinema and psychopathology. Amsterdam University Press.
[41]
Turner, F. 2012. ‘The Family of Man and the Politics of Attention in Cold War America’ [in] Public Culture. Public Culture. (2012). DOI:https://doi.org/10.1215/08992363-1443556.
[42]
Weizman, E. 2015. ‘Forensic Architecture: Notes from Fields and Forums’ [in] Continent. (2015).
[43]
Wells, L. 2003. The photography reader. Routledge.
[44]
Zuromskis, C. 2016. ‘Snapshot Photography, Now and Then: Making, Sharing, and Liking Photographs at the Digital Frontier’ [in] Afterimage. (2016).
[45]
Zwijnenberg, R. 2010. ‘How to Depict Live: A Short History of the Imagination of Human Interiority’ [in] The scientific imaginary in visual culture. The scientific imaginary in visual culture. V&R unipress.