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Within the larger context of cultural memory, family pictures have become one of the most intriguing multi- and interdisciplinary fields of investigation in the past decade. This field brings together artists working in different media (e.g. documentary photography and film, photo-based painting and installations, digital art, collage, montage, comics, etc.) as well as academics, critics, theorists and writers working in a wide range of disciplines including literature, history, art history, sociology, anthropology, psychoanalysis, film and media studies, visual culture studies, gender studies, postcolonial studies, and word and image studies. This volume intends to offer a broad, panoramic view of the topic combining West and East European as well as American perspectives.
Introduction by the editors
Photo as Autobiography
Marianne Hirsch and Leo Spitzer, Incongruous Images: "Before, During, and After" The Holocaust
Nancy K. Miller, Beguiled by Loss: The Burden of Third-Generation Narrative
Jay Prosser, The Baghdadi Jew and His Chinese Mistress
Photo and Text
Heinz Ickstadt, History, Narration and the Frozen Moment of Photography in Richard Powers' Three Farmers on Their Way to a Dance (1985) and Theresa Hak Kyung Cha's Dictee (1982)
Zsófia Bán, Memory and/or construction: Family images in W. G. Sebald's novel, Austerlitz
Private and Public Archives
Rob Kroes, Virtual Communities of Intimacy: Photography and Immigration
Géza Boros, Buried images: Photography in the cult of memory of the 1956 revolution
András Bán, A Farewell to Private Photography
Suzana Milevska, EVENTfulness: Family Archives as Events/Folds/Veils
Logan Sisley, Visualising Male Homosexuality in the Family Album
Ágnes Berecz, Please Recycle! On the Family Album of Ágnes Eperjesi
Éva Forgács, From Photo to Object: Personal documents as history-writing in the works of Christian Boltanski and Ilya Kabakov
Hedvig Turai, Home Museum: An installation by Katarina Šević and Gergely László