Children in Riiss and Hines Photographic Projects Discuss the representation of children in Jacob Riiss and Lewis Hines photographic projects.
You need to choose one of the essay questions to write a 2,000-word essay, which addresses all of the points of the essay question. These essay topics require independent thinking more than the synthesis of the source material. Develop your own analysis of the questions asked, using class discussion, reading, and critical viewing. Your analysis should be rigorous and structured to be effective, using evidence (not speculation) to back it up, starting with an overarching introduction, followed by orderly detailed considerations, ending with a comprehensive conclusion.
Children in Riiss and Hines Photographic Projects Quotations
All quotations should be in quotation marks and footnoted, and all paraphrases of sources should also be footnoted (to do otherwise is considered plagiarism). All sources consulted should be included in your bibliography. You will need to follow the study skills handbook guideline to ensure you meet the required format for the essay.
1. Discuss the representation of children in Jacob Riis’s and Lewis Hine’s photographic projects.
2. In one of the most influential critiques of documentary photography, Martha Rosler wrote: ?poverty and oppression are almost invariably equated with misfortunes caused by natural disasters: casualty is vague, blame is not assigned, fate cannot be overcome.? Assess the validity of the quotation referring to at least two documentary photographers in your answer.
3. Consider the tension in the work of Magnum photographers between the commitment to the direct depiction of social reality on the one hand, and the production at times of a self-conscious even ambiguous imagery. Is this tension present in all social documentary work? Discuss by means of close analyses of specific images.
4. In what ways have contemporary photographers challenged and redefined the notion of the documentary? Refer to two contemporary practitioners in detail in your analysis.
5. What is the relationship of Allan Sekula?s practice to the tradition of social documentary photography?
6. Using two examples of practitioners, discuss photography role in the document the?Other.?
7. Discuss critically the following statement and provide precise photographic examples where relevant to support your argument:?Documentary photography has amassed mountains of evidence. And yet, in this pictorial representation of scientific and legal ‘fact’, the genre has simultaneously contributed much to the spectacle, to retinal excitation, to voyeurism, to terror, envy and nostalgia, and only a little to the critical understanding of the social world.? Sekula, A. (1979) Dismantling Modernism, Reinventing Documentary. In: Photography Politics One.
8. A number of contemporary art photographers produce work that challenges the line between documentary and art. Choose one of these practitioners and discuss the role of the document in contemporary photographic practices.
9. In what ways do contemporary documentary projects deal with all that is excluded from view? Refer to at least two examples in your answer.
10. Discuss the impact of digital technologies on photojournalism referring to at least two examples of relevant photographic practices.