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Photography, Narrative, Time
Imaging our Forensic Imagination
Now Available
Price £32.50, $43
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ISBN 9781783201778
Paperback 200 pages
230 x 170 mm
Published May 2014
Imprint: Intellect
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Books by Greg Battye
Books in Visual Arts
Other books in this series Review: The Sydney Morning Herald
Chapter Titles     |      Reviews     |      Comments
Providing a wide-ranging account of the narrative properties of photographs, Greg Battye focuses on the storytelling power of a single image, rather than the sequence. Drawing on ideas from painting, drawing, film, video, and multimedia, he applies contemporary research and theories drawn from cognitive science and psychology to the analysis of photographs. Using genuine forensic photographs of crime scenes and accidents, the book mines human drama and historical and sociological authenticity to argue for the centrality of the perception and representation of time in photographic narrativity.
 
Chapter titles
Preface
Introduction
Chapter 1. A Different Kind of Look: Picturing Narrative
Chapter 2. What Narrative Is
Chapter 3. Made for Each Other: People and Photography
Chapter 4. Time
Chapter 5. The Eternity of a Moment: Evidence
Chapter 6. A Cognitive Turn
Chapter 7. Scripts and Schemata
Chapter 8. Possible Worlds
Postscript
Reviews
'For anyone interested in more than photography – particularly in comprehending its strange hold over us as an activity both for taking and viewing images – this absorbing book will both expand your understanding of the medium and provide you with fresh insights from latest research' – The Sydney Morning Herald, Simon Weaving

'Battye has provided the photographic art or craft (or both) with staunch intellectual support, offering convincing evidence or the photo’s ability to imply much more than initially meets the eye.' – Art in America, Robert J. Seidman

'Battye’s great accomplishment in this volume is certainly the theoretically sound location of photographs within a theoretical framework of narrative.' – Heike Polster, Kronoscope

'Greg Battye’s timely new book provides a concise and insightful over- view of Anglophone theoretical writing about still photography. He is sensitive to the many different kinds of photograph and to the ‘discourses’ that envelop them in today’s academy, but he is as refreshingly enthusiastic about everyday snap-shots and ephemera as he is about more deliberate, professional image- making.' – John A Bateman, Visual Communication

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