Difference between revisions of "Tekin2017a"
BurakTekin (talk | contribs) (Created page with "{{BibEntry |BibType=INCOLLECTION |Author(s)=Burak S. Tekin |Title=The negotiation of poses in photo-making practices: Shifting asymmetries in distinct participation frameworks...") |
AndreiKorbut (talk | contribs) |
||
| (One intermediate revision by one other user not shown) | |||
| Line 4: | Line 4: | ||
|Title=The negotiation of poses in photo-making practices: Shifting asymmetries in distinct participation frameworks | |Title=The negotiation of poses in photo-making practices: Shifting asymmetries in distinct participation frameworks | ||
|Editor(s)=Lorenza Mondada; Sara Keel | |Editor(s)=Lorenza Mondada; Sara Keel | ||
| − | |Tag(s)=EMCA; Institutional interaction; Conversation | + | |Tag(s)=EMCA; Institutional interaction; Conversation Analysis; asymmetry |
|Key=Tekin2017a | |Key=Tekin2017a | ||
|Publisher=L'Harmattan | |Publisher=L'Harmattan | ||
|Year=2017 | |Year=2017 | ||
|Language=English | |Language=English | ||
| + | |Address=Paris | ||
|Booktitle=Participation et asymétries dans l'interaction institutionnelle | |Booktitle=Participation et asymétries dans l'interaction institutionnelle | ||
| − | | | + | |Pages=285–313 |
|ISBN=978-2-343-11749-2 | |ISBN=978-2-343-11749-2 | ||
| − | |Abstract=This chapter focuses on how professional photographers and clients arrange the | + | |Abstract=This chapter focuses on how professional photographers and clients arrange the taking of photographs, and demonstrates how they can accomplish different poses within contrasted participation frameworks. Previous works on photography studies, particularly in visual anthropology, have mainly concentrated on photographs as research tools or end products (see Collier & Collier, 1986 ; Morphy & Banks, 1999), thus as detached from the actual interactional settings in which photos are produced in the first place as negotiated accomplishments of the photographers and the clients. They have therefore neglected to look at the interactive and situated production of photos as a « topic of investigation » in its own right1. With a focus on this relatively scarcely examined area, this chapter looks at the interactive work through which photographers and clients negotiate and accomplish different poses while making photos in a professional studio. Paying attention to the sequential and structural moment-by-moment organisation of this specific activity, this chapter addresses to how specific photos are proposed, designed and arranged as the activity progressively unfolds. |
| − | taking of photographs, and demonstrates how they can accomplish different poses | ||
| − | within contrasted participation frameworks. Previous works on photography studies, | ||
| − | particularly in visual anthropology, have mainly concentrated on photographs as | ||
| − | research tools or end products (see Collier & Collier, 1986 ; Morphy & Banks, | ||
| − | 1999), thus as detached from the actual interactional settings in which photos are | ||
| − | produced in the first place as negotiated accomplishments of the photographers and | ||
| − | the clients. They have therefore neglected to look at the interactive and situated | ||
| − | production of photos as a « topic of investigation » in its own right1. With a focus on | ||
| − | this relatively scarcely examined area, this chapter looks at the interactive work | ||
| − | through which photographers and clients negotiate and accomplish different poses | ||
| − | while making photos in a professional studio. Paying attention to the sequential and | ||
| − | structural moment-by-moment organisation of this specific activity, this chapter | ||
| − | addresses to how specific photos are proposed, designed and arranged as the activity | ||
| − | progressively unfolds. | ||
}} | }} | ||
Latest revision as of 04:07, 26 September 2023
| Tekin2017a | |
|---|---|
| BibType | INCOLLECTION |
| Key | Tekin2017a |
| Author(s) | Burak S. Tekin |
| Title | The negotiation of poses in photo-making practices: Shifting asymmetries in distinct participation frameworks |
| Editor(s) | Lorenza Mondada, Sara Keel |
| Tag(s) | EMCA, Institutional interaction, Conversation Analysis, asymmetry |
| Publisher | L'Harmattan |
| Year | 2017 |
| Language | English |
| City | Paris |
| Month | |
| Journal | |
| Volume | |
| Number | |
| Pages | 285–313 |
| URL | |
| DOI | |
| ISBN | 978-2-343-11749-2 |
| Organization | |
| Institution | |
| School | |
| Type | |
| Edition | |
| Series | |
| Howpublished | |
| Book title | Participation et asymétries dans l'interaction institutionnelle |
| Chapter | |
Abstract
This chapter focuses on how professional photographers and clients arrange the taking of photographs, and demonstrates how they can accomplish different poses within contrasted participation frameworks. Previous works on photography studies, particularly in visual anthropology, have mainly concentrated on photographs as research tools or end products (see Collier & Collier, 1986 ; Morphy & Banks, 1999), thus as detached from the actual interactional settings in which photos are produced in the first place as negotiated accomplishments of the photographers and the clients. They have therefore neglected to look at the interactive and situated production of photos as a « topic of investigation » in its own right1. With a focus on this relatively scarcely examined area, this chapter looks at the interactive work through which photographers and clients negotiate and accomplish different poses while making photos in a professional studio. Paying attention to the sequential and structural moment-by-moment organisation of this specific activity, this chapter addresses to how specific photos are proposed, designed and arranged as the activity progressively unfolds.
Notes
