Private Photographs Research Articles

Reflections of female and male patriotism in photographs: Analysis of First World War photographs of a Jewish family from Rome

This article presents the case of Carlo Baroccio, an Italian Jewish banker from Rome who enrolled in the Italian army during the First World War. He appears photographed in a private family album in uniform at home, with friends, on trips, and with his family. Carlo’s family is a case study example of a family of Roman Jews after the opening of the ghetto in 1870. The study explores the role of photography in the display of enthusiasm and involvement of this community in the First World War through the analysis of Carlo's private photographs. It examines how patriotism manifested in this soldier's private sphere and in his private photo album, and how it was expressed through his wife's supporting, patriotic gaze while constructing the album. The study will present the background on the status of Jewish women after emancipation and during the First World War. The contextual background of these photographs is examined, and the photos are explored using visual semiotic tools.

Talking with images: collecting and displaying private photographs and testimony in Imperial War Museums’ Holocaust Galleries

ABSTRACT This article examines the Imperial War Museums’ (IWM) engagement with Holocaust survivors and their photographs. A key concern is photographs and testimonies' roles in the transformation of individual memory into the cultural memory of the Holocaust. Of concern is why and how private photographs are used as a significant resource in IWMs Holocaust Galleries and the impact that on the museum’s narrative of Jewish life before, during, and after the Holocaust. The article acknowledges the challenges faced by curators as they strive to accommodate the expectations of stakeholders whilst simultaneously maintaining historical accuracy and engaging the reflective capacities of visitors.

Visualizing Farewell: A Jewish Soldier’s Return to Postwar Germany through Private Photography

ABSTRACT This article explores the experience of German-Jewish refugees who joined the U.S. Army and returned to Germany wearing uniforms through an examination of their private photographs. Focusing on two case studies of images taken by soldiers in 1945–6, the study uncovers their complex dynamics of identity and belonging as they confronted their traumatic past. These photographs reveal a profound detachment from sites of Jewish trauma, enabling the soldiers to bid farewell to their old Heimat on their own terms. By shedding light on their struggles, the analysis provides insights into the process of identity formation and memory negotiation.

PRIVACY PRESERVING PHOTO SHARING SCHEME ON ONLINE SOCIAL NETWORKS

–Photograph sharing is an alluring component which advocates Online Social Networks (OSNs). Tragically, it might spill users'privacy assuming they are permitted to post, remark, and label a photograph unreservedly. In this paper, we endeavor to resolve this issue and study thescenario when a client shares a photograph containing people other than himself/herself (named co-photograph for short). To forestall possibleprivacy spillage of a photograph, we plan a component to empower every person in a photograph know about the posting movement and participatein the decision making on the photograph posting. For this reason, we really want a productive facial acknowledgment (FR) framework that can perceiveeverybody in the photograph. Nonetheless, really intense protection setting might restrict the quantity of the photographs freely accessible to prepare theFR framework. To manage this predicament, our component endeavors to use clients' private photographs to plan a customized FR systemspecifically prepared to separate conceivable photograph co-proprietors without releasing their security. We additionally create a dispersed consensusbased technique to lessen the computational intricacy and safeguard the private preparation set.Index Terms – photo privacy, online social network, facial recognition.

Cyberbullying – A Critical Analysis of Laws, Criminal Responsibility and Jurisdiction

It is vital to look upon the data of Cyber Bullying cases and the age for which the accused is held responsible. Statistics reveals that criminal minded people who are on the borderline of the ‘age’ who could be charged under IPC for some blunt crimes are being treated liberally. Cyberbullying, also known as Internet bullying, is a form of criminal activity that falls under the broadcategory of cybercrime. Since there are different types of cyberbullying and abuse, it’s crucial to know what counts as “cyberbullying.” If we look at the dictionary meaning of a bully, we can see that it is described as “seek to hurt, threaten, or coerce - someone perceived as vulnerable”. Bullying is described as any individual or group of individuals who seeks to injure, coerce, intimidate, or threaten another.Such actions or action are most commonly seen on social media sites as well as in chat boxes and gaming websites. Cyberbullying occurs when an individual or group of people bullies or harasses another person using digital technology on the internet or in another digital sphere. This can include things like posting private photographs and videos without permission, creating fake accounts and spamming groups or individuals online, body shaming, making memes and videos of people, often celebrities, making mess ups or slips, and so on. According to a 2016 UNICEF survey, one in every three internet users worldwide is a child, while the latest ‘India Internet Report 2019’ indicates that two out of every 3internet users in India are between the ages of 12 and 29. As a result of their psychological nature, this community of internet users is often targeted by online bullies. The number of incidents of cyberbullying and abuse has increased as a result. Indian women and teenagers became the victim of Cyberbullying and cases increased by 36% in just one year.

A Study on the Acquisition Methods of Private Photographs for The Urban Landscape Documentation Project: Focusing on Daegu Metropolitan City

A Study on the Acquisition Methods of Private Photographs for The Urban Landscape Documentation Project: Focusing on Daegu Metropolitan City

The COURAGE Registry: A Gateway to the Cultural Heritage of Eastern European Nonconformism

The COURAGE Registry is a digital research tool that allows exploring the legacy of cultural opposition in former Eastern European socialist countries by cataloging and describing relevant collections on dissident culture across Eastern Europe and worldwide. The linked database reveals a great variety of nonconformist cultural practices that were formerly largely unknown and promotes comparative research of similar phenomena in Eastern European societies and cultures. The researchers on the project tended to treat visual sources as traces of the past equally as important as written documents. Images were not only illustrations of the given narratives but, in some cases, visual documents were the only sources that preserved the memory of the alternative or underground activity, while in other cases, it was the act of taking pictures that resulted in the confrontation with official cultural policy. This article aims to provide insight into the basic dilemmas and issues that the project faced dealing with images for the database through three examples. Firstly, we focus on the photo documentation of an exhibition of the Hungarian art group Inconnu that was made by the secret police following the destruction of the artworks. Secondly, we show how photos were also taken by official photographers who operated in the so-called “grey zone.” Finally, our third example refers to Fortepan, a unique public initiative that focuses on the digital preservation of private photographs created between 1900 and 1990.

Photographic public sphere: Identity building with vernacular photography

The foundation of the article is based on the notion that self-disclosure is one of the most significant factors of contemporary vernacular photography. Argued through conceptual analysis and real-life examples, the role of self-disclosure is analysed in relation to the somewhat institutionalized functions of vernacular photography: (1) preserving memories, (2) maintaining and creating new social relationships, (3) self-presentation and (4) self-expression. The article sheds light on the widespread use of cameraphones and how the role of self-disclosure differs notably within the four chosen functions, since its absence among private photographs contributes to personal and unique memories; and within shared photographs, it defines how people want to be seen by others and themselves. The benefits and challenges of private and shared photography are also evaluated.

Secrecy Regulation and Obstruction of Photo Theft on Social Platform

Nowadays, People are well-connected to one another in Social Networks. Usage of Internet and involvement in Online Social Platforms are increasing day by day. People sharing their personal information in these platforms. Even, they started Uploading their Photo in the Internet and it became very common among the Internet users. Without understanding the risk, user involved in sharing their personal details. Some fraudulent users uploading another user’s photo without their knowledge. They are getting photos of others in many ways such as by taking photos using their mobile cameras, collecting images from Social networks, stealing images from the theft mobile. They are posting the photos in the Social media applications which are stored enduringly in the database. This results in the misuse of photo and involved in many criminal activities. To overcome this security problem, a competent face recognition system is needed which identify the user in the photo. To handle this, a set of users, friends list and their private photographs. This system accomplished as an evidence of approach in social network on Facebook application.

Difficult Images: A Family’s Hidden Photographs of Grief and Mourning

Family albums are filled with photographs celebrating the happy times. These represent the high points in life, such as birthdays, holidays, and weddings as well as ordinary moments of domestic life. But what of more difficult images? Rarely included in the family album are photographs of funerals, deaths, and expressions of grief. Consequently, the focus of this article is a private collection of difficult photographs, hidden from view and left out of the family archive; the images unmistakably depict a family deep in mourning. Taken in 1975 at a funeral and burial, the family is pictured grieving their loss in an unusually public way. These images offer a rare opportunity to examine the representation of intimate and difficult emotions in private photographs, while asking questions about the function of the family archive. Using Jacques Derrida’s reflections on death, mourning, and the archive, as well as Roland Barthes’ observations in Camera Lucida, I have argued for difficult images to be included and shared in the family album. Here I maintain that difficult images depicting difficult emotions offer an opportunity to enhance photography’s storytelling capacity in the inter-generational experience of family. This examination is further contextualized alongside photography’s longstanding connection to death.

An Advanced Control Access Photo Sharing OSN's

Photo sharing is an alluring component which enhances Online Social Networks. Sadly, it may release clients' security on the off chance that they are permitted to post, remark, and label a photograph openly. Westudy the situation when a client shares a photograph containing people other than her (termed co-photograph for short). We need to minimize he security beaches that happen because posting the photos of people without the awareness of people involved in photo. For this reason, we require a proficient facial acknowledgment (FR) framework that can perceive everybody in the photograph. Notwithstanding, all the more requesting security setting may restrain the photographs' quantity freely accessible to prepare the FR framework. To manage this issue, our instrument endeavors to use clients' private photographs to plan a customized FR framework particularly prepared to separate conceivable photograph co-proprietors without releasing their protection. We additionally add to a disseminated accords based system to diminish the computational many-sided quality and ensure the private preparing set. We demonstrate that our framework is better than other conceivable methodologies as far as acknowledgment proportion and effectiveness. Our instrument is executed as a proof of idea Android application on Facebook's stage.OSNs will not contaminate to true users and polluted by unauthorized users and their posting the photos in unsecure way. Hence OSNs will be secure and safest.

Gay Life and Liberation, a Photographic Record of 1970s Belfast

In March 2017, the first LGBTQ+ history exhibition to be displayed at a national museum in Northern Ireland debuted at the Ulster Museum. The exhibition, entitled “Gay Life and Liberation: A Photographic Exhibition of 1970s Belfast,” included private photographs captured by Doug Sobey, a founding member of gay liberation organizations in Belfast during the 1970s, and featured excerpts from oral histories with gay and lesbian activists. It portrayed the emergence of the gay liberation movement during the Troubles and how the unique social, political, and religious situation in Northern Ireland fundamentally shaped the establishment of a gay identity and community in the 1970s. By displaying private photographs and personal histories, it revealed the hidden history of the LGBTQ+ community to the museum-going public. The exhibition also enhanced and extended the histories of the Troubles, challenging traditional assumptions and perceptions of the conflict.

Crossing Borders in the Summer of 1935: Fritz Fürstenberg’s Photographs of Persecution in National Socialist Germany

Abstract While there are hundreds of written accounts of the Holocaust, there are only a few photographs known to document the fate of the persecuted from their own point of view. This article presents the case study of a photographic series taken inside Germany by Jewish businessman Fritz Fürstenberg in order to provide evidence of National Socialist persecution beyond its borders. After a close reading that reveals where and under which circumstances Fürstenberg took his photographs, the article broadens its scope to discuss how the images were eventually used in the Netherlands as a means of documenting National Socialist persecution. In the process, the article’s authors add another layer to the ‘integrated history’ famously advocated by Saul Friedländer, and call attention to the astonishing fact that research into such private photographs is still a desideratum—and as such a promising field for future research.

From “Double Genocide” to “the New Jews”: Holocaust, Genocide and Mass Violence in Post-Communist Memorial Museums

ABSTRACTEastern European EU accession candidates have used memorial museums and installed new permanent exhibitions to communicate with “Europe” in view of the Holocaust's “univer salization” and “Europeanization.” One group demands that “Europe” acknowledge its suffering under Communism, while the other group tries to demonstrate its compatibility with Europe by invoking “Europe” in their exhibition texts and publications and referencing western Holocaust museums in their aesthetics. This article focuses on two countries from each group: Latvia and Lithuania, which highlight their victimhood under “double occupation,” on the one hand; and the current successor states of the “Slovak Republic” and the “Independent State of Croatia,” two Nazi satellite states, on the other. I begin by analysing how the terms “Holocaust,” “genocide,” and “mass violence” are used in the respective Latvian, Lithuanian, Slovak and Croatian memorial museums. I argue that both groups share an awkwardness in dealing with the term “Holocaust,” and a tendency to present “our” victims with the help of individual stories and private photographs designed to evoke empathy, while presenting “their” victims – Jews and, even more so, Roma – with the help of often humiliating photos shot by the perpetrators. I then show that the post-Yugoslav wars of the 1990s – in contrast to the peaceful transitions in the other countries – had a distinctive effect on debates concerning the Holocaust, genocide, and mass violence. Moving beyond the realm of museum analysis, I pinpoint the broader cultural phenomenon of Croats, Serbs, and Bosniaks portraying themselves as “the new Jews,” before focusing specifically on the new permanent exhibition at the Srebrenica-Potočari Memorial, which I discuss as a best practice example for the universalization of the Holocaust.

“Tinder Humanitarians”: The Moral Panic Around Representations of Old Relationships in New Media

According to the company website, Tinder is a mobile phone application for “friends, dates, relationships, and everything in between”. Cody Clarke, a writer and filmmaker, documents screenshots of photographs from the closed network of Tinder to publicly “out” users of the site who post photographs showing themselves in some “do-gooding” relationship that appears to take place in the South. Through the posting of a new photograph every day, the “Humanitarians of Tinder” Tumblr blog and Facebook page have generated a public discussion on the politics of representing suffering strangers in attempts to enhance the appeal of western image producers. This article will investigate the phenomenon of the Humanitarians of Tinder in order to understand its representations of North–South relations from the photographs themselves and from the debates held around them in new media and old. Critical development studies, media studies and sociology will provide an interdisciplinary theoretical framework to understand the moral panic that these Tinder humanitarians have created through posting private photographs of humanitarian performances to increase their personal desirability.

Jericho-off-the-Record: Tracing ‘New’ Records of the 1950s Excavations at Tell es-Sultan

During the last few years the Non-Professional Archaeological Photographs project (npaph) has gathered and digitised numerous forgotten non-professional photographs and slides from past archaeological excavations (1950–1980), which were subsequently ingested and processed at dans. The term ‘non-professional’ refers to participants of excavations who were not part of the trained staff but who supported the dig as part of their continuous education or out of interest. Secondly, this category of documentation also includes private photographs, slides and films made at the excavation by the archaeological staff and which are not stored in official archives. Several npaph publications have previously demonstrated that this category of records is of significance to current archaeological research. The npaph has recently initiated a new project: Jericho-off-the-Record. This project aims to gather not only visual non-professional documentation of the second British campaign to Tell es-Sultan (ancient Jericho) but also to collect written and oral records of the renowned excavation, which was conducted by Kathleen Kenyon from 1952 till 1958. This article provides an update of the situation regarding the current project of which an initial data deposit has been made accessible in easy , the dans online archiving system.

Rethinking heritagization through the digitization of familial archives

This article interrogates the process of heritagization that occurs through the creation of the website dedicated to Léo Gravelle, a former Montreal Canadiens hockey player. This website, created by Léo Gravelle’s son, became an alternate venue to circulate and render accessible his professional hockey career by featuring private photographs alongside newspaper clippings, memorabilia and other personal archives. As a way to provide a wide exposure of Léo’s hockey past, facilitate public access to his personal archives that had been accumulated over many years, and ensure their preservation in the future, the creation of this website sheds light on heritage practices realized on a small and familial scale, at the intersection of unofficial heritage, digital heritage and familial heritage. Drawing on an analysis of the website and an interview conducted with the Gravelles, the article explores how this process of heritagization is framed – and transformed – by the possibilities provided by digital technologies, as well as by the cultural practices and familial ties that lie at the heart of the project The analysis of the digital heritagization practices initiated by family members occurring within the context of consumer culture and sport-spectacle opens up and challenges the way heritage is generally understood and established.

From Private Photography to Mass Circulation: The Queering of East German Visual Culture, 1968–1989

AbstractThis article describes how a particular kind of queer figure moved from private photography into the mainstream of East German visual culture. It begins with a set of private photographs from the late 1960s from the collection of Heino Hilger, a regular, with his friends, at the East Berlin bar Burgfrieden. The photographs show how dressing in drag and the act of photography were important ways of constituting a gay male subculture. After the decriminalization of sex between men in 1968, the gay scene became bolder and more political in East Germany. The subversion of gender norms was central to the activism of groups such as the Homosexual Interest Group Berlin (HIB) and Gays in the Church. The visibility of the queer figure culminated in the late 1980s, when parts of the film Coming Out were filmed in Burgfrieden and when the popular monthly Das Magazin published a three-part feature on male homosexuality. What all these cultural artifacts and events had in common was not just a critique of the heterosexual norm, but also a queering of the boundaries between masculinity and femininity.

Lascars through the colonial lens: reconsidering visual sources of South Asian sailors from the twentieth century

Photographs often accompany scholarly work on the role of South Asian seafarers in the twentieth-century maritime world. In most cases they are derived from a collection of commercial souvenir photographs taken on board passenger liners by a company called Marine Photo Service (MPS). This photograph collection is held at the National Maritime Museum in London and some MPS images are available online. However, using these commercial images without putting them in context obscures further understanding of the history of South Asian seafarers. Following Elizabeth Edwards's observation that museums all too frequently use photographs as wallpaper to frame historical narratives without interrogating the images, this article contrasts MPS images of seafarers on P&O's Viceroy of India with private photographs and ship plans. It interrogates images of South Asian seafarers to explore the social relations captured in them, in order further to understand the potential of image use in historical research and in museums.

“In My Eyes, Each Photograph was a Masterpiece”. Construction of children's photos in a family album on kibbutz in Israel

This article explores the process of the creation of photographs on kibbutz through a case study of one nuclear family living on kibbutz in Israel. It examines the process of construction of photographs in the private family album of the nuclear family in relation to the public forms of documentation on kibbutz. The article explores to what extent the photographs enabled the family to express their individuality in kibbutz society, which was self-governed by a socialist, egalitarian ideology. It examines the influences of the childhood photographs of the mother, who joined the kibbutz as an adult, on the construction of images of motherhood in her private kibbutz photo album. It investigates the way in which the construction of private photographs in one family album contested dominant mythologies on kibbutz at that time.