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Barthes R, Howard R, Lavers A. Mythologies. First American paperback edition, 2013. New York: : Hill and Wang, a division of Farrar, Strauss and Giroux 2013.
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Benjamin W. ‘A short history of photography’. Screen 1972;13:5–26.https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=edb&AN=31291113&site=eds-live&scope=site
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Clarke G. ‘What is a Photograph?’ [in] The photograph. In: The photograph. Oxford: : Oxford University Press 1997. https://contentstore.cla.co.uk/secure/link?id=f546da98-2de4-e811-80cd-005056af4099
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Bank A. ‘ANTHROPOLOGY AND PORTRAIT PHOTOGRAPHY: GUSTAV FRITSCH’S “NATIVES OF SOUTH AFRICA”, 1863-1872’ [in] Kronos. Kronos 2001;:43–76.https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=edsjsr&AN=edsjsr.41056669&site=eds-live&scope=site
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Harris C. Photography and Tibet. London: : Reaktion Books 2016. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991007392759707446&context=L&vid=44UOEX_INST:default
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Edwards E. Anthropology and photography, 1860-1920. New Haven: : Yale U. P. in association with The Royal Anthropological Institute 1992.
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Azoulay A. ‘“The Family of Man”: A Visual Universal Declaration of Human Rights’ [in] The human snapshot. In: The human snapshot. Feldmeilen, Switzerland: : Luma Foundation 2013. https://contentstore.cla.co.uk/secure/link?id=c8243cba-a4f8-e811-80cd-005056af4099
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Mortenson E. ‘The Ghost of Humanism: Rethinking the Subjective Turn in Postwar American Photography’ [in] History of Photography. History of Photography Published Online First: 2014. doi:10.1080/03087298.2014.899747
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Garb T. ‘Rethinking Sekula from the Global South: Humanist Photography Revisited’ [in] Grey Room. 2014;:34–57.https://contentstore.cla.co.uk/secure/link?id=68b3c332-79e6-e811-80cd-005056af4099
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Steichen E. The family of man: the greatest photographic exhibition of all time. New York: : The Museum of Modern Art 1983.
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Mirzoeff N. ‘The World of War’ [in] How to see the world: an introduction to images, from self-portraits to selfies, maps to movies, and more. In: How to see the world: an introduction to images, from self-portraits to selfies, maps to movies, and more. New York: : Basic Books, a member of the Perseus Books Group 2016. https://contentstore.cla.co.uk/secure/link?id=c22f299b-2ee4-e811-80cd-005056af4099
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Sontag S. ‘Regarding The Torture Of Others’ [in] The New York Times. Published Online First: 2004.https://www.nytimes.com/2004/05/23/magazine/regarding-the-torture-of-others.html
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Hershberger AE. ‘Krauss’s Foucault and the Foundations of Postmodern History of Photography’ [in] History of Photography. History of Photography 2006;30:55–67.https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=hia&AN=20435315&site=eds-live&scope=site
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hooks bell. ‘Postmodern Blackness’ [in] Yearning: race, gender, and cultural politics. In: Yearning: race, gender, and cultural politics. New York: : Routledge 2015. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991014651949707446&context=L&vid=44UOEX_INST:default
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Anderson P. The origins of postmodernity. London: : Verso 1998.
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Burgin V. ‘Looking at Photographs’ [in] Thinking photography. In: Thinking photography. London: : Macmillan 1982. https://contentstore.cla.co.uk/secure/link?id=e1679b3c-b4e8-e811-80cd-005056af4099
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Blatt AJ. ‘Phototextuality: photography, fiction, criticism’ [in] Visual Studies. Published Online First: 2009.http://content.ebscohost.com/ContentServer.asp?EbscoContent=dGJyMNLe80Sep7M4zOX0OLCmr1CeprFSsa24SK6WxWXS&ContentCustomer=dGJyMPGosFCwrLBJuePfgeyx9Yvf5ucA&T=P&P=AN&S=R&D=hlh&K=44080793
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Dijck J van. ‘X-Ray Vision in Thomas Mann’s The Magic Mountain’ [in] The transparent body: a cultural analysis of medical imaging. In: The transparent body: a cultural analysis of medical imaging. Seattle: : University of Washington Press 2005. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991004840779707446&context=L&vid=44UOEX_INST:default
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Trifonova T. ‘Photography and the Construction of Psychopathology at the Fin de Siecle’ [i] Warped minds: cinema and psychopathology. In: Warped minds: cinema and psychopathology. Amsterdam: : Amsterdam University Press 2014. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991004186219707446&context=L&vid=44UOEX_INST:default
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Engel CE. ‘II. PHOTOGRAPHY IN MEDICINE’ [in] Journal of the Royal Society of Arts. Journal of the Royal Society of Arts 1961;109.https://uoelibrary.idm.oclc.org/login?url=http://www.jstor.org/stable/41369086?seq=1#metadata_info_tab_contents
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Zwijnenberg R. ‘How to Depict Live: A Short History of the Imagination of Human Interiority’ [in] The scientific imaginary in visual culture. In: The scientific imaginary in visual culture. Göttingen: : V&R unipress 2010.
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Auslander P. ‘The Performativity of Performance Documentation’ [in] PAJ: A Journal of Performance Art. PAJ: A Journal of Performance Art 2006;28:1–10.https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=edsjsr&AN=edsjsr.4140006&site=eds-live&scope=site
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Jones A. ‘“Presence” in Absentia: Experiencing Performance as Documentation’ [in] Art Journal. Published Online First: 1997.http://content.ebscohost.com/ContentServer.asp?EbscoContent=dGJyMMTo50Seprc4zOX0OLCmr1CeprZSsKq4SraWxWXS&ContentCustomer=dGJyMPGosFCwrLBJuePfgeyx9Yvf5ucA&T=P&P=AN&S=R&D=hlh&K=223331
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Phelan P. ‘The Ontology of Performance: Representation without Reproduction’ [in] Unmarked: the politics of performance. In: Unmarked: the politics of performance. London: : Routledge 1993. https://contentstore.cla.co.uk/secure/link?id=df8cb637-2fe4-e811-80cd-005056af4099
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Bray RS. ‘Rotten Prettiness - The Forensic Aesthetic and Crime as Art’ [in] Australian Feminist Law Journal. Australian Feminist Law Journal 2014;40:69–962014.https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=edshol&AN=edshol.hein.journals.afemlj40.6&site=eds-live&scope=site
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Weizman E. ‘Forensic Architecture: Notes from Fields and Forums’ [in] Continent. Published Online First: 2015.http://content.ebscohost.com/ContentServer.asp?EbscoContent=dGJyMMTo50Seprc4zOX0OLCmr1CeprZSsaq4S7SWxWXS&ContentCustomer=dGJyMPGosFCwrLBJuePfgeyx9Yvf5ucA&T=P&P=AN&S=R&D=hlh&K=116804045
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Marshall PD. ‘The promotion and presentation of the self: celebrity as marker of presentational media’ [in] Celebrity Studies. Celebrity Studies 2010;1:35–48. doi:10.1080/19392390903519057
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Zuromskis C. ‘Snapshot Photography, Now and Then: Making, Sharing, and Liking Photographs at the Digital Frontier’ [in] Afterimage. Published Online First: 2016.http://content.ebscohost.com/ContentServer.asp?EbscoContent=dGJyMMTo50Seprc4zOX0OLCmr1CeprZSsa%2B4TbWWxWXS&ContentCustomer=dGJyMPGosFCwrLBJuePfgeyx9Yvf5ucA&T=P&P=AN&S=R&D=hlh&K=116716139
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Albers KP. Uncertain histories: accumulation, inaccessibility, and doubt in contemporary photography. Oakland, California: : University of California Press 2015.
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Henning M. Photography. The unfettered image. Andover: : Routledge Ltd 2017.
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Jones A. Self/image: technology, representation, and the contemporary subject. London: : Routledge 2006.
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Mirzoeff N. How to see the world: an introduction to images, from self-portraits to selfies, maps to movies, and more. New York: : Basic Books, a member of the Perseus Books Group 2016.
