Search results

In order to discuss visual truth both from the epistemological and ethical perspective, this essay focuses on the nature of photographic image and its complex relationship with human perception and ethics in Western culture. It argues that this relationship is similarly complex to that of history and reality it represents and points out that the ethical approach to truth is most constructive for society. By looking at the most politically, ethically, and ideologically engaged category: war photography, the author analyzes how images are constructed and used in various contexts. The text provides a background of history of war iconography but focuses on the examples from the twentieth and twenty-first century: the Vietnam War, the Balkan conflict, the war in the Persian Gulf, the war in Iraq, and the war in Syria.

The purpose of this paper is to understand how Agfa, a division of IG Farben and Germany's leading producer of photographic equipment, adapted its marketing strategy to the new political environment created by the Nazi regime. This was a time when many consumer goods manufacturers suffered from the state‐driven reallocation of resources favoring the armament industry. Agfa, however, expanded its production well into the war.

This case study is based on archival records of Agfa's sales department.

This paper shows that Hitler's armament drive left room for non‐essential consumer goods such as cameras, film, and photographic paper as they fitted the regime's consumption policy, as well as its import and foreign exchange policy. A pioneer in marketing, Agfa was able to secure its growth strategy and its room to maneuver by focusing its product and promotion program on the socioeconomic needs of the “Volksgemeinschaft” and the “Four Year Plan”.

This paper sheds new light on the often‐underestimated role of consumption during the “Third Reich.” Furthermore, it supports the evolutionary – rather than revolutionary – nature of the history of marketing practice in Germany, as Agfa's interwar marketing policy features many sophisticated modern elements prior to the “Marketing Revolution” of the 1960s.

This chapter serves as an introduction to the key themes found within the volume Ethics and Integrity in Visual Research Methods, and provides a rationale for the volume’s focus on photography and film media. Drawing from other literature, the author discusses the significance of indexicality and visual language when working with photography and film in research contexts, and describes how these considerations set photography and film apart from other forms of visual data. The chapter concludes by outlining the format of the volume, which divides the nine chapters into three key areas of exploration: Voice and Agency, Power and Inequality, and Context and Representation.

Over a century of state-sponsored construction of monuments, historic mythmaking and nationalist framings of WWI has ensured that it has become notoriously difficult to present the heritage of the Great War in an inclusive and non-selective way. In this paper the authors present a strategy and technology-driven solutions to overcome the selective heritage curation of modern conflict.

Building on a suite of tools, applications and cultural heritage management plans developed by the In Flanders Fields Museum (IFFM), this paper explores the challenges of preserving and curating conflict heritage. The authors investigate the philosophy, cultural heritage management strategies and exhibitions used to curate the heritage of the Ypres Salient (Belgium).

The paper argues that historical aerial photographs integrated in multimedia exhibits present themselves as a fascinating source bringing the landscape within the walls of the museum. Mobile augmented reality (AR) applications developed by the museum go one step beyond and bring museum techniques to the landscape.

This paper presents a strategy to present, manage and curate the entirety of conflict heritage from the modern period. Faced with growing politicisation and memorialisation of modern conflict, it is extremely important that inclusive heritage management and curation is insured. The reflections on different curatorial techniques used by the IFFM can contribute globally towards a better heritage engagement.

An innovative and meaningful framework enables a more historically nuanced visitor experience to key heritage sites throughout the Ypres Salient.

Ensuring a non-selective heritage experience is especially pressing today. Over the past century canonised and national narratives have prescribed our understanding of the First World War across Europe and beyond.

Adopting a critical stance towards the proliferation in AR apps and applying theories from anthropology and phenomenology has been developed combining AR with arboreal landscape relics.

This paper aims to provide an initial determination of the date of construction, locations and a typology of design of the pill‐boxes of the Gin Drinker's Line constructed by the colonial Hong Kong Government.

Post‐war aerial photos taken by the Royal Air Force and R.C. Huntings were examined and site visits made to locate and measure the pill‐boxes. Relevant archive materials were consulted to help interpret findings.

A total of 76 pill‐boxes, most in ruins due to post‐war destruction for obtaining their steel bars, were mapped on a 1:25,000 scale to give a good idea of the nature of the Gin Drinker's Line. The study finds that, of these, 50 have survived. The pill‐boxes predated those built in the UK to anticipate of German landing.

The paper demonstrates how aerial photos can be used for historical research and conservation planning. Though the locations of the pill‐boxes identified are subject to detailed site surveying, the basic pattern of pill‐box distribution has been identified.

This is the first attempt to map the Gin Drinker's Line and classify its pill‐boxes. The findings are useful references for the actual conservation of colonial heritage in Hong Kong as part of China, as well as for further inquiry into the military history of the Second World War.