Art
Morteza Sedighifard; Hedie Khazaei; Mehdi Moghimnejad
Abstract
This research is based on a structured analysis of the book written by Pierre Bourdieu, called Photography, a Middle-Brow Art. This study is a descriptive analysis of the different sections of the book from different perspectives. In this research, we considered the Persian translation of the book. Moreover, ...
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This research is based on a structured analysis of the book written by Pierre Bourdieu, called Photography, a Middle-Brow Art. This study is a descriptive analysis of the different sections of the book from different perspectives. In this research, we considered the Persian translation of the book. Moreover, the origin of the work and the effectiveness of its contents after more than half a century from its publication, along with its advantages and disadvantages were discussed. We also compared the Persian translation to the English version. The translation of the work was also examined, which revealed that the book has a decent translation quality, despite detecting a few errors in some sections. It can be concluded that due to the long time since its publication and the speed of change in its concerning fields, namely sociology and photography, most arguments in the book can no longer be cited. Also, because the book contains discontinuous articles and does not have an explicit conclusion, it does not have the desired unity in general, which might result in the fact that each section can be read independently.
Art
Mohammad Khodadadi Motarjemzadeh
Abstract
This essay has attempted to analyze and interpret the form and content determined by the structure of the book “Acting the Part: Photography as Theatre,” (translated to Farsi in 2014). It is a descriptive-analytic study and by referring to four chapters of the book, it tries to deal with ...
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This essay has attempted to analyze and interpret the form and content determined by the structure of the book “Acting the Part: Photography as Theatre,” (translated to Farsi in 2014). It is a descriptive-analytic study and by referring to four chapters of the book, it tries to deal with origin, effectiveness, benefits, and shortcomings of the book. In the course of analysis and research, it is revealed that the book was published on the occasion of a photo exhibition in Canada, and each of the four chapters of the book has a specific aspect to theatrical photography. Few occasions such as the triple roles of actor, narrator, and artist for the sake of the photographer, the photographer as a storyteller, the explanation of live photography and examples of well-known photos in social documentary scope can be considered as book’s innovations. However, aggregation of diverse opinions expressed in the mold of a book is not homogeneous, and it ends without any final conclusion. The book acts successfully in case-thematic study for stylistic and historical aspects of theatrical photography (Staged Photography), but cannot entirely represent all historical and stylistic aspects of this field of photography. Translation, editing, printing quality, and layout of the book are desirable. In the absence of adequate resources in Farsi, this book is useful for enthusiasts and students of photography.
Art
Mohammad Khodadadi Motarjemzadeh
Volume 17, Issue 4 , September 2017, , Pages 45-58
Abstract
In this paper, the author attempts to identify various aspects of values and the shortcomings of the book by purposefully reviewing the book of "Exhibiting Photography" based on the four axes of the overall introduction of the book and the author, external analysis and the origin of the book ...
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In this paper, the author attempts to identify various aspects of values and the shortcomings of the book by purposefully reviewing the book of "Exhibiting Photography" based on the four axes of the overall introduction of the book and the author, external analysis and the origin of the book and its author, internal analysis and place of the book, and critique and evaluation of the book, and providing a good overview of its functional features and form. In this vein, the author, by drawing on a holistic view of the translations of photographic texts in Iran, outlines the general situation of the Iranian photography community at the time the book was published. Then, he analyzes the contents of the book in detail from the proposed perspective and evaluates the useful items and shortcomings of the book and concludes that despite the existing shortcomings, both in the structure of the book and in translation, the benefits of this book for the current photography community, and in particular the academic community, is far more than its shortcomings, provided it is favorably introduced to academic and art centers.
