فصلنامه جامعه، فرهنگ، رسانه
پیاپی 5 (زمستان 1391)

Choosing and arranging the selected parts of photos in familial albums shape a visual narraon that we can pervade to every family’s internal narraon; the narraon which reveal the different socio-cultural aspects of family. In this paper، we address to narraon concept in albums، the kinds of narraon، and verbal narraon in familial albums. Then، the characteriscs of these albums will be deliberated in various aspects by looking at middle class Iranian families’ albums. We try to discover hidden parts and inner layers of Iranian families through studying these albums. The findings demonstrate socio-familiar values and preferences occulted in Iranian families’ albums. Also، we find out family has sll an important posion for persons، despite notable social variaons in Iranian families in researched me period. Also this posion and ideal image is indefecble even when a person refuses its criteria.

Photos and Social affair both were the products of the 19th century and industrial revoluon. In two recent decades، presentaon- as one of communicaonal forms between these two- has engaged the most thinkers’ aenon. Effecng Michael Holliday and Roland Bart’s theories، Gunther Kress and Theo van Leeuwen addressed to rethink about the concepts of semiocs، and established social semiocs. They approach to photograph and focused on the role برساختگرايانه adopted a of culture in meaning producon and the presentaon of social affair. Along this، they overruled the basic presupposion of semiocs based on arbitrarily relaon between signified and signifier، and they presumed it as a wrathful process. Based on this concept، the sign meaning is connually producing and reproducing and will be momentarily formulized into relaon of constructor، context and audience. Social semiocs applies the concepts like semioc source، representaon process، narrave and conceptual photos to comprehend possible meanings of a photo related to Social affair.

In this essay it has been tried to bring some new facts to light about of one of the most important personal documentary photographic projects، in 19th century، Iran. The project is the photographs that، Ernst Hoeltzer، German engineer، took in Iran (especially in Isfahan and around the town) between 1873 and 1897. In my esmaon this project is one of the important (or maybe the most important) sets of sociological and anthropological photographs in 19th century، Iran. Aer introducing the photographer and his work’s historical and sociological context، I will proceed to cricize part of his collecon that includes his portrait photographs.

During previous 50 years، most photographers have taken some photos from disabled people، injured civilian and Maral people aer coming off and finishing the wars in the countries like Korea، Vietnam، Cambodia، Lebanon، Bosnia، Iraq and Afghanistan. They finished their work in a limited me period- like the other photographic projects- aer propagaon of pictorial reports، seng up exhibions and publishing books. This paper studies Mehdi Mon’em’s method and movaon- Iranian documentary photographer- for choosing the projects related to civilian vicms of Iraq exigent war against Iran. Mon’em devoted 20 years of his life to carry out this project. The war’s injured and vicms were not a subject like news photography، pictorial reports or tourist photography for him. He has entered to these person’s privacy has companied to them in a common place، has listened to their confabulaon، has lived with them and when he has achieved to an awareness level and interacon، has proceed to taking photograph. Necessarily، orientaon to the methods used by Mon’em reaching to desirable photos was checked to apply in training advanced documentary photography. His photos exhibited in ‘Silk Road’ gallery، regarded by Internaonal Red Cross Organizaon، and published in a book named “The War Vicms”.

Reading out visual experiences in route of social context provides a pictorial phenomenon that marks the photography is the producon of this socio-pictorial phenomenon. We might have researched the photography through looking at its history and funcons، but paying aenon to the other displays of photography involve us slightly; even though at the first look، it doesn’t have any place in the history of photography. Immediate and familial photos have rarely had a significant posion in analyc approach of photography and addressed to. Because in the academic studies for historiography of photography، created photos researched through the names، but the names do not exist here، and just visual and pictorial objects study social and individual emoons in familial albums and isolated memento photos، which the appearance of these photos’ reality or arficiality apposed in. This paper is an effort- though the inial instance- to study such photos، adding social concept to familial photos، and studying based on the reality governed on humanity which makes a dual procedure. It means either we look at the photos in aesthecal viewpoint or we know the photos are reference documents.

Enjoyment of contemplaon in being unique and solidarity of ontology in the idealisc and goal oriented society of classic era and age of enlightenment in the 18th century was replaced by a fragmented and analyzable world in the structure of modernisc society idea in the 19th century. In modernisc era، photography firstly addressed to cricism and analysis the totality of existence by the idealisc approach of bourgeois’ class to develop human’s cognion from his circumference and construcon of a global language. Photo collage is the top of this approach in believability of fragmentaon and cognion. Modern human is subjugated by the dominance of technology and tools mulplicity and acceleraon. Passing this crisis، human goes to change، mutaon، conciliaon and adaptaon to human’s subjecvity and all his cognive potenal to achieve adaptaon and rejoin plural fragments of modernism contemplaon. Therefore، photo assembly becomes the origin of Current era.

Digital cameras are products of digital culture. From this view point، we have to reminisce the digital network that is comprised of internet، digital cameras and cizens who are linked together and have created a new age of polics، culture and society. Human sociees need the common sense and objects to form، things that they can produce an inner order based on. According to Leibnitz approach، wickedness– with two meanings، moral wickedness (sin) and natural wickedness (harm) - can threat collecve order. This can be accomplished not only by humans but also by the objects which enter in human sociees by knowledge. Digital cameras produced hybrid idenes between real affair and virtual affair through their technologic revoluon، idenes which are set against collecve order and wickedness reincarnate in.

Opening an outlook to some dominant characteriscs in westernmodernis-c photography، this paper figures on to pose a disnconbetween referred aributes to arsc modern photography and socialfuncon of modern photography; and then demonstrates modernphotography as a social affair has appeared from congregaon of thesetwo different characteriscs. Aerward، in the second secon، we introduce standard scales forvisibility of modern photography in Iran as a social affair in disnctfields like press، gallery، educaon، culture and people. Lastly، we conclude that different displays related to visibility of Iranianmodern photography converge and congregate in helical decades 1340and 1350 by confirmaon and direcon of instutes or granng anarsc importance.