LEADER 03633nam 22006495 450 001 9911046676403321 005 20240605185016.0 010 $a9780226242170 010 $a022624217X 024 7 $a10.7208/9780226242170 035 $a(CKB)3710000000441201 035 $a(EBL)2081184 035 $a(SSID)ssj0001516897 035 $a(PQKBManifestationID)12635001 035 $a(PQKBTitleCode)TC0001516897 035 $a(PQKBWorkID)11501069 035 $a(PQKB)10595806 035 $a(StDuBDS)EDZ0001075897 035 $a(MiAaPQ)EBC2081184 035 $a(DE-B1597)524238 035 $a(OCoLC)912878849 035 $a(DE-B1597)9780226242170 035 $a(Perlego)1852420 035 $a(EXLCZ)993710000000441201 100 $a20200424h20152015 fg 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aDaguerreotypes $eFugitive Subjects, Contemporary Objects /$fLisa Saltzman 210 1$aChicago :$cUniversity of Chicago Press,$d[2015] 210 4$dİ2015 215 $a1 online resource (200 p.) 300 $aDescription based upon print version of record. 311 08$a9780226242033 311 08$a022624203X 320 $aIncludes bibliographical references and index. 327 $tFrontmatter --$tCONTENTS --$tACKNOWLEDGMENTS --$tINTRODUCTION. DAGUERREOTYPES --$tCHAPTER ONE. RETRO- SPECTACLES --$tCHAPTER TWO. ORPHANS --$tCHAPTER THREE. JUST DRAWINGS --$tCHAPTER FOUR. TIME REGAINED --$tEPILOGUE --$tNOTES --$tINDEX 330 $aIn the digital age, photography confronts its future under the competing signs of ubiquity and obsolescence. While technology has allowed amateurs and experts alike to create high-quality photographs in the blink of an eye, new electronic formats have severed the original photochemical link between image and subject. At the same time, recent cinematic photography has stretched the concept of photography and raised questions about its truth value as a documentary medium. Despite this situation, photography remains a stubbornly substantive form of evidence: referenced by artists, filmmakers, and writers as a powerful emblem of truth, photography has found its home in other media at precisely the moment of its own material demise. By examining this idea of photography as articulated in literature, film, and the graphic novel, Daguerreotypes demonstrates how photography secures identity for figures with an otherwise unstable sense of self. Lisa Saltzman argues that in many modern works, the photograph asserts itself as a guarantor of identity, whether genuine or fabricated. From Roland Barthes's Camera Lucida to Ridley Scott's Blade Runner, W. G. Sebald's Austerlitz to Alison Bechdel's Fun Home-we find traces of photography's "fugitive subjects" throughout contemporary culture. Ultimately, Daguerreotypes reveals how the photograph, at once personal memento and material witness, has inspired a range of modern artistic and critical practices. 606 $aPhotography, Artistic$xPhilosophy 606 $aPhotography$xSocial aspects 606 $aPhotography$xHistory 606 $aPhotographic interpetation 615 0$aPhotography, Artistic$xPhilosophy. 615 0$aPhotography$xSocial aspects. 615 0$aPhotography$xHistory. 615 0$aPhotographic interpetation. 676 $a770 686 $aAP 94200$2rvk 700 $aSaltzman$b Lisa$4aut$4http://id.loc.gov/vocabulary/relators/aut$01862785 801 0$bDE-B1597 801 1$bDE-B1597 906 $aBOOK 912 $a9911046676403321 996 $aDaguerreotypes$94469078 997 $aUNINA