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Iranian Documentary Photography of the Iran-Iraq War (1980-88) and Its Artistic Legacies : = Discursivity, Institutionalization, and Transfer in the Photographic Medium.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Iranian Documentary Photography of the Iran-Iraq War (1980-88) and Its Artistic Legacies :/
Reminder of title:	Discursivity, Institutionalization, and Transfer in the Photographic Medium.
Author:	Nedaeifar, Hoda.
Description:	1 online resource (365 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 84-06, Section: A.
Contained By:	Dissertations Abstracts International84-06A.
Subject:	Art history. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=29997977click for full text (PQDT)
ISBN:	9798363507007

Iranian Documentary Photography of the Iran-Iraq War (1980-88) and Its Artistic Legacies : = Discursivity, Institutionalization, and Transfer in the Photographic Medium.
Nedaeifar, Hoda.

Iranian Documentary Photography of the Iran-Iraq War (1980-88) and Its Artistic Legacies :Discursivity, Institutionalization, and Transfer in the Photographic Medium. - 1 online resource (365 pages)

Source: Dissertations Abstracts International, Volume: 84-06, Section: A.

Thesis (Ph.D.)--Indiana University, 2022.

Includes bibliographical references

In my dissertation, I examine the development of documentary photography during the Iran-Iraq war in the 1980s, and the impact of those documentary practices on fine art photography in postwar Iran (1988-2013). Through examining the operation of institutions in charge of image production in this decade, I discuss how the unprecedented publication and publicization of photographic images in the form of photobooks established documentary photography as a form of visual "evidence" and hence, as a critical component of the narrativization of modern Iranian history. While photobooks were solely considered as a medium of image distribution, they had some distinct qualities compared to other visual forms of propagandist art such as posters, stamps, and murals. As photobooks are instances of institutionalization of photograph, I first explore the fundamental institutional practices in the Iranian history of photography. Next, I argue that photobooks published during the Iran-Iraq war can be explained in two chronological segments: first, the single-authored photobooks published from 1980 to 1983 which visualized the war through the depiction of destroyed cities, the relationship of architecture and war, and human absence. The second category included the state-sponsored and multi-authored photobooks, produced from around 1983 to the end of the war. This group focused on the excessive representation of human body, gradually stabilizing photograph as a means of collective expression fashioned by the new state for the nation. Through visual and textual analysis of some of these photobooks, I argue that, as the design of those photobooks became more sophisticated and more diverse techniques were employed, the content simultaneously became more homogenous, with an increasing emphasis on images that represented collectivity or what I propose to be hypercorporeality. The themes in the photobooks and visual narrative of war, re-appears years later in the 2000s across the work of the next generation of Iranian fine art photographers who responded to the subject matter of the Iran-Iraq war and its legacy. I argue that through innovative artistic strategies, these responses subvert the official narrative of war, while displaying and producing transformations in the collective memory of the war across the generations.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798363507007Subjects--Topical Terms:

2122701
Art history.
Subjects--Index Terms:

InstituionalizationIndex Terms--Genre/Form:

542853
Electronic books.

Iranian Documentary Photography of the Iran-Iraq War (1980-88) and Its Artistic Legacies : = Discursivity, Institutionalization, and Transfer in the Photographic Medium.
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504 $a Includes bibliographical references
520 $a In my dissertation, I examine the development of documentary photography during the Iran-Iraq war in the 1980s, and the impact of those documentary practices on fine art photography in postwar Iran (1988-2013). Through examining the operation of institutions in charge of image production in this decade, I discuss how the unprecedented publication and publicization of photographic images in the form of photobooks established documentary photography as a form of visual "evidence" and hence, as a critical component of the narrativization of modern Iranian history. While photobooks were solely considered as a medium of image distribution, they had some distinct qualities compared to other visual forms of propagandist art such as posters, stamps, and murals. As photobooks are instances of institutionalization of photograph, I first explore the fundamental institutional practices in the Iranian history of photography. Next, I argue that photobooks published during the Iran-Iraq war can be explained in two chronological segments: first, the single-authored photobooks published from 1980 to 1983 which visualized the war through the depiction of destroyed cities, the relationship of architecture and war, and human absence. The second category included the state-sponsored and multi-authored photobooks, produced from around 1983 to the end of the war. This group focused on the excessive representation of human body, gradually stabilizing photograph as a means of collective expression fashioned by the new state for the nation. Through visual and textual analysis of some of these photobooks, I argue that, as the design of those photobooks became more sophisticated and more diverse techniques were employed, the content simultaneously became more homogenous, with an increasing emphasis on images that represented collectivity or what I propose to be hypercorporeality. The themes in the photobooks and visual narrative of war, re-appears years later in the 2000s across the work of the next generation of Iranian fine art photographers who responded to the subject matter of the Iran-Iraq war and its legacy. I argue that through innovative artistic strategies, these responses subvert the official narrative of war, while displaying and producing transformations in the collective memory of the war across the generations.
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