Photography as an act of collaboration

The camera is usually considered to be a passive tool under the control of the operator. This definition implicitly constrains how we use the medium, as well as how we look at – and what we see in – its interpretations of scenes, objects, events and ‘moments’. This text will suggest another way of thinking about – and using – the photographic medium. Based on the evidence of photographic practice (mine and others’), I will suggest that, as a result of the ways in which the medium interprets, juxtaposes and renders the elements in front of the lens, the camera is capable of depicting scenes, events and moments that did not exist and could not have existed until brought into being by the act of photographing them. Accordingly, I will propose that the affective power of many photographs is inseparable from their ‘photographicness’ – and that the photographic medium should therefore be considered as an active collaborator in the creation of uniquely photographic images

Na mira do olhar: um exercício de análise da fotografia nas revistas ilustradas cariocas, na primeira metade do século XX

This article presents a historical approach for the analysis of photographic images, followed by the application of these theoretical and methodological considerations to a series of photographs issued in two popular magazines, published in the city of Rio de Janeiro between 1900 and 1960. Through the analysis of the photographic message, class behaviour codes are related to their social representations.Este artigo traz considerações sobre a análise histórica de imagens fotográficas, aplicando as propostas teórico-metodológicas apresentadas a uma série fotográfica composta pelas imagens de duas revistas ilustradas, Careta e O Cruzeiro, publicadas na cidade do Rio de Janeiro entre 1900 e 1960. Por meio da análise da mensagem fotográfica relaciona-se a elaboração dos códigos de comportamento de classe às suas representações sociais

Sexotic: The interplay between sexualization and exoticization

The introduction reflects on the methodological value and implications of the concept „sexotic“, situates it in the research on processes of sexualization and exoticization and demonstrates how the individual contributions to the special issue relate to three central topics that can be approached via the sexotic: mobilities and migrations, arts and media, science and moralities

Body projects and the regulation of normative masculinity

Drawing on interviews with 140 young British males, this paper explores the ways in which men talk about their own bodies and bodily practices, and those of other men. The specific focus of interest is a variety of body modification practices, including working out (at a gym) tattooing, piercing and cosmetic surgery. We want to argue, however, that the significance of this analysis extends beyond the topic of body modification to a broader set of issues concerned with the nature of men’s embodied identities. In discussing the appearance of their bodies, the men we interviewed talked less about muscle and skin than about their own selves located within particular social, cultural and moral universes. The surfaces of their bodies were, as Mike Featherstone (1991) has argued, charged primarily with ‘identity functions’, allowing men to establish a place for themselves in contemporary society. Using a social psychological approach which can be characterised as a discursive analysis (Henwood, Gill & McLean, 1999; Lupton, 1998), this paper makes connections between men’s private feelings and bodily practices, and broader social and cultural trends and relations. It shows that in talking about seemingly trivial questions such as whether to have one’s nose pierced or whether to join a gym, men are actively engaged in constructing and policing appropriate masculine behaviours and identities; above all, in regulating normative masculinity. We identify five key discourses or ‘interpretive repertoires’ (Wetherell & Potter, 1992) which together construct the meanings for these men of attempts to modify the appearance of the body. The five discourses or repertoires were focused on the themes of individualism and ‘being different’; libertarianism and the autonomous body; unselfconsciousness and the rejection of vanity; a notion of the ‘well-balanced’ and unobsessional self; and self-respect and the morally accountable body. Our analysis lends support to the claim that the body has become a new (identity) project in high/late/postmodernity (e.g. Shilling, 1993; Featherstone, 1991), but shows how fraught with difficulties this project is for young men who must simultaneously work on and discipline their bodies while disavowing any (inappropriate) interest in their own appearance. The analysis highlights the pervasive individualism of young men’s discourses, and the absence of alternative ways of making sense of embodied experiences