Research Guide – Indicative Bibliography

A ACTT (Association of Cinematograph and Television Technicians) (1980), Revised Draft Code of Practice between the ACTT, the Regional Arts Associations and the Welsh Arts Council, in conjunction with the Distribution Department of the British Film Institute, 20 February, pp. 1–2. Source: Adsetts Centre, Sheffield Hallam University, Independent Filmmakers Association files, box 5.

ACTT (1999), ‘ACTT Grant-Aided Workshop Production Declaration (extract)’, in M. Dickinson (ed.), Rogue Reels: Oppositional Film in Britain, 1945–90, London: BFI

Aitken, I. Film and Reform: John Grierson and the Documentary Film Movement (London: Routledge) 1990

Alexander, W. Film on the Left: American Documentary Film from 1931–1942 (Guilford and New Jersey: Princeton University Press) 1981

Althusser, J. ‘Ideology and Ideological State Apparatuses: Notes towards an Investigation’ in Lenin and Philosophy and Other Essays (London: New Left Books) 1971

Amber Collective Forever Amber, Stories from a Film and Photography Collection (Newcastle: Amber and Laing Gallery) 2015

Amphoux, Nancy. What is Centerprise? (London: Centerprise) 1973

Arts Council of Great Britain British Image 1. (London: Arts Council of Great Britain) 1975

1 Arts Council of Great Britain Three Perspectives on Photography: Recent British Photography ( London: Arts Council of Great Britain) 1979

Azoulay, A. The Civil Contract of Photography (Massachusetts, MIT Press, 2008)

B Badger, G. Chris Killip (London: Phaidon, 2001)

Badger, G. et al Through The Looking Glass: Post War British Photography (London: Lund-Humphries) 1984

Bailey, A. D. , Boyce, S. and Baucom I. (eds.) Shades of Black: Assembling Black Arts in 1980’s Britain (Duke University Press and Institute of International Visual Arts) 2005

Batchen, G Burning with Desire: The Conception of Photography (Massachusetts: The MIT Press) 1997

Batchen, G Photography Degree Zero : Reflections on Roland Barthe’s Camera Lucida (Massachusetts: The MIT Press) 2011

Bate, D. Art Photography (London: Tate Publishing) 2015

Barthes, R. ‘Rhetoric of the Image’ (1964) in The Responsibility of Forms (Oxford: Basil Blackwell) pp 21–40 1986

Barthes, R. Camera Lucida: Reflections on Photography (London: Vintage Classics) 1993

Battista, K. Renegotiating the Body: Feminist Art in 1970s London (London: I.B. Tauris) 2012

2 Bayer, J. and Noble, A. (eds.) Image and Exploration: Some Directions in British Photography 1980–1985 (London: The Photographers Gallery) 1985

Benjamin, W. A Short History of Photography, Screen Vol 13 no 1 Spring 1972 (find original – earlier )

Benjamin, W. The Work of Art in the Age of Mechanical Reproduction. Translation J. A Underwood ( London: Penguin) 1935

Benjamin, W. The Arcades Project (Cambridge, MA and London:Belknap Press) 1999

Berger, J. About Looking (London: Writers and Readers Co-operative Ltd.) 1980

Bertrand, M. The Half Moon Photography Workshop and Camerawork: catalysts in the British photographic landscape (1972–1985) in Photography and Culture (London: Taylor and Francis) May 2018

Bezencenet, S. and Corrigan, P. Photographic Practices: Towards a Different Image (London: Comedia) 1986

Bourdieu, P. Distinction: A Social Critique of the Judgement of Taste (Harvard: Harvard University Press 1979)

Brittain, D. Creative Camera: Thirty Years of Writing (Manchester and New York: Manchester University Press) 1999

Buchloh, B. ‘Allan Sekula: Photography between Discourse and Document’ in Sekula, A. Fish Story (2nd Edition. Dusseldorf: Richter Verlag Dusseldorf ) 2002

3 Burgin, V. (ed.) Thinking Photography (London: Macmillan) 1982 This book comprises a collection of key essays on the production and analysis of photography:

Key Essays in Thinking Photography

Walter Benjamin The Author as Producer: Address at the Institute for the Study of Fascism. Paris 1934 On the relationship between politics and production in arts and culture from a Marxist perspective with particular reference to Bertolt Brecht’s radical theatre

Umberto Eco Critique of the Image.1976 On reading signs and possible meanings in cultural objects and his work on the theory of semiotics

Victor Burgin Photographic Practice and Art Theory. 1982 On the complexity of applying linguistic semiotic theory e.g. denotation and connotation, to the photographic image and notions of medium specificity

Allan Sekula On the Invention of Photographic Meaning. 1975 On the critical engagement with ‘photography discourse’

John Tagg The Currency of The Photograph. 1982 On photography and realism in systems of power and representation. How meaning is constructed, including by the author and viewer

Victor Burgin Looking at Photographs. 1982 On the structure and structuring effect of the image, including the role of psychoanalysis in a semiotic approach

Simon Watney Making Strange: The Shattered Mirror. 1982 On Photo-aesthetics with a critique of Victor Shklovsky’s theory of ‘ostrananie’ (making strange)

4 C Campany, D. Photography and Art (London: Phaidon) 2012

Capet, A. The Representation of Working People in Britain and France: New Perspectives (Cambridge: Cambridge Scholars Publishing) 2009

Channel Four New Independents on Four (London: Channel Four) 1983

Channel Four The Work of Channel Four’s Independent Film and Video Department: Eleventh Hour, People to People, Workshops (London: Channel Four) 1987

Clarke, J., Hall, S., Jefferson, T. and Roberts, B. ‘Subcultures, Cultures and Class: A Theoretical Overview’ in Hall, S. and Jefferson, T. (Eds) Resistance Through Rituals: Youth Subcultures in Post-war Britain (London: HarperCollins Publishers Ltd) 1976

Cullis, A. ‘A Woman’s Work is Never Done’ in Women Artists Slide Library Journal Issue 59, pp 47–48 (London: WASL) 1994

Curtis, D. , ‘English Avant-Garde Film: An Early Chronology’, in M. O’Pray (ed.) The British Avant-Garde Film: 1926 to 1995 Luton: University of Luton Press/John Libbey/Arts Council of England) 1996

Curtis, D. A History of Artists’ Film and Video in Britain (London: BFI) 2007

D De Certeau, M. The Practice of Everyday Life (Berkeley, University of California Press) 2008

Dennett T. , Harvey, S., T. Spence, J. et al (eds.) Photography / Politics One (London, Photography Workshop) 1979

5 Dennett, T. The Wounded Photographer: The Genesis of Jo Spence’s ‘camera therapy’ Visual Studies Workshop Vol.29. No.3. pp 26–27. ( Rochester,NY: Afterimage) 2001

Dennett, T. ‘Remembering Jo Spence: A Conversation with Terry Dennett’ Interview with Tina Takemoto in Afterimage Vol. 36. Issue 5, pp13–18. March/April 2009

Dennett, T. and Spence, J. “Remodelling Photo History” in Ten 8 No 9. pp 34–37 (Birmingham) 1982

Dennett, T. and Spence, J. “Remodelling Photo History” in Incite: A Visual Art Magazine Vol. 1, Issue 3. pp.13–16 (London) 1984

Dennett, Terry. and Spence, J. “Ten years of Photography Workshop”. Eds. Bezencenet, S. Corrigan, P in Photographic Practices: Towards a Different Image (London: Comedia Publishing Group) 1986

Dennett, T. and Spence, J. ‘The Crisis Project : Scenes of the Crime’ Ed. Lundstrom, J. in Real Stories, Revisions on Documentary and Narrative Photography (Odense Denmark: Museet Fotokunst) 1992–93

Dennett, T. Spence, J. ‘Photography, Ideology and Education’ (1975) in Representation and Photography Eds. Alvarado, M., Buscombe, E. and Collins, R. (Hampshire: Palgrave) 2001

Dewdney, A. Interview with Shirley Read. Oral History of British Photography National Sound Archive (London: British Library) 2000

Dickenson, M. (ed) Rogue Reels: Oppositional Film in Britain 1945–90 (London:BFI) 1999

Dickenson, M. and Street, S. Cinema and The State: The Film Industry and The Government 1927–84 (london:BFI) 1985

Durden, M. Fifty Key Writers on Photography (London, Routledge, 2013)

6 E Edwards, S. Photography: A Very Short Introduction (Oxford: Oxford University Press) 2006

Edwards, S. The Fires Last Time: Documentary and Politics in 1970s Britain, FotoMuseum. Online journal. www.fotomuseum 2017

Eagleton, T. The Ideology of the Aesthetic (Oxford: Blackwell Publishing) 1990

Evans, D. and Gohl, S. Photomontage: A Political Weapon (London: Gordon Fraser) 1986

Evans, J. (ed.) The Camerawork Essays: Context and Meaning in Photography (London and New York: Rivers Oram Press and New York University Press) 1997

Ewald, W. Wendy Ewald interviewed by Shirley Read. Oral History of British Photography. National Sound Archive. (London: British Library) 2006

Exit Exit was a collaboration between Paul Trevor, Chris Steele-Perkins and Nicholas Battye founded in 1973. Following a first project close to the Half Moon which led to a booklet Down Wapping they were approached by the Calouste Gulbenkian Foundation to extend their work to inner cities throughout the UK. Over the next six years they produced some 30,000 pictures and 100 hours of taped interviews, a selection of which were published as Survival Programmes: In Britain’s Inner Cities, Exit Photography Group (The Open University Press) 1982

7 F Fanon, F. Black Skin, White Masks (France: Editions du Seuil) 1952

Fanon, F. The Wretched of The Earth (New York: Grove Press) (translation) 1963

Flusser, V. Towards a Philosophy of Photography (Gottingen: European Photography) 1984

Foucault, M. ‘What is an Author ?’ in Language, Counter-Memory, Practice (Oxford, Blackwell) 1977

Fountain, Alan (Commissioning Editor, Channel Four) Workshop Policy in the 1990s: A Discussion Document (London:BFI Special Collections) April 1989

G Gaal-Holmes, P. Decade of Diversity: A History of 1970s British Experimental Film. PhD thesis, University of Portsmouth 2011

Gibson, B. (BFI Production Board) Draft policy document: Workshop and Regional Production Funding and the BFI – Into the 1990s (London:BFI Special Collections) July 1989

Gollock, K. The Filth and Fury (Online: Varient issue 43) Spring 2012

Grenfell, M. J. Pierre Bourdieu: Key Concepts (London: Taylor and Francis) 2014

8 H Hall, S. ‘The Social Eye of Picture Post’ in Working Papers in Cultural Studies Vol.2 (Birmingham: Birmingham University) Spring 1972

Hall, S. Representation: Cultural Representations and Signifying Practices (London: Sage and Open University Press) 1997

Heron, L and Williams, V. Illuminations: Women Writing on Photography from the 1850s to the Present (Durham, Duke University Press) 1996

Hill, P. Education – What For? (Online: www.hillonphotography.co.uk)

History Workshop Journal, 1976–1988 (Oxford University Press) www.academic.oup.com/hwj

Holland. P. ,Spence J. and Watney S. (eds.) Photography Politics / Two (London: Routledge ) 1987

Howarth-Booth, M. British Photography, Towards a Bigger Picture (New York, Aperture) 1989

I Independent Filmmakers Association archive: Adsetts Centre, Sheffield Hallam University. e.g. Artists Film and Video Collection

9 J Jay, B. ‘Magazine Memoirs: Creative Camera and Album, 1968–1972’ from the conference Happened Here? Photography in Britain since 1968 at the National Media Museum, Bradford 2004

Jeffrey, I. Photography: A Concise History (London: Thames and Hudson) 1981

Jeffrey, I. and Rogers, B. (eds.) Inscriptions and Inventions, British Photography in the 1980s (London: British Council) 1987

Jordanova, L. History in Practice (London: Arnold) 2000

K Kelly, O. Community, Art and the state: Storming the Citadel. (London: Comedia Publishing) 1984

Killip, C. In Flagrante (London, Secker and Warburg) 1988

Kismaric, S. British Photography from the Thatcher Years (New York: Museum of Modern Art) 1990

Klorman-Eraqi, N. The Hackney Flashers: Photography as a Socialist Feminist Endeavour Photography and Culture 10 (1): 53–71 (London: Taylor & Francis) April 2017

Knight, J. and Thomas, P. Reaching Audiences: Distribution and Promotion of Alternative Moving Image (Bristol: Intellect Books) 2011

Konttinen, S.L. . Sirkke Liisa Konttinen interviewed for the Oral History of British Photography National Sound Archive (London: British Library) 2002

10 L Leyda, J. Kino: A History of the Russian and Soviet Film (Princeton, N.J: Princeton University Press) 1983

Lippard, L.R. Get The Message: A Decade of Art for Social Change (New York, E.P. Dutton Inc. and Toronto, Fitzhenry and Whiteside Ltd.) 1984

M MacPherson, D. with Willemen P. Traditions of Independence British Cinema in the Thirties (London, BFI) 1980

McWilliams, M. ‘The Historical Antecedents of Contemporary Photography Education: A British Case Study, 1966–79’ in Photographies 2/2. 2009

Meadows, D. The Bus: The Free Photographic Omnibus 1973 –2001 An Adventure in Documentary (London, The Harvill Press) 2001

Meadows, D, Living Like This: Around Britain in the Seventies (London: Arrow Books) 1975

Meadows, D. National Portraits: Photographs from the 1970s. (Derby: Viewpoint Photography Gallery, Salford and Montage Gallery) 1997

Mellor, D. No Such Thing As Society: Photography in Britain 1967–87 (London: Hayward Publishing) 2008

Mirtzoeff, N. (ed.) The Visual Culture Reader 3rd ed. ( Oxon and New York) 2013

Mitchell, J. Psychoanalysis and Feminism (London, Penguin) 1975

Mulvey, L. Visual and Other Pleasures ( Basingstoke: Palgrave Macmillan) 2009

11 N Newbury, D. ‘Documentary Practice and Working Class Culture: An Interview with Murray Martin’ ( Amber Films) in Visual Studies 17 2002

Newhall, B. ‘Documentary Approach to Photography’ in Parnassus Vol. 10 No. 3 March 1938

Nichols, B. Representing Reality Issues and Concepts in Documentary (Bloomington and Indianapolis, Indiana University Press) 1991

Nigg, H., Wade. G, ‘Community Media’ in Community Communication in the UK: Video, Local TV, Film and Photography. (Zurich: Regenbogen-Verlag) 1980

Nochlin, L. Women, Art and Power and Other Essays (New York, Harper Collins) 1988

O Osman, C. ‘A Short History’ in Creative Camera, 253: 6. 1986

P Parker, R. and Pollock, G. Framing Feminism: Art and The Women’s Movement 1970–85 (London: Rivers Oram Press/Pandora List) 1997

Photography Workshop. Various documents. Circa 1975. Jo Spence Memorial Archive and Bishopsgate Institute Library and Archives (Terry Dennett Papers)

12 R Rees, A. L. and Borzello, F. The New Art History (London: Camden Press) 1986

Ribalta, J. Not yet. On the Reinvention of Documentary and the Critique of Modernism, Essays and Documents 1972–1991 (Madrid, Museo Nacional Centro de Arte Reina Sofia ) 2015

Ribalta, J. ‘The Strand Symptom: A Modernist Disease?’ in Oxford Art Journal, Vol. 38 Issue 1 ) March 2015

Roberts, J. The Impossible Document: Photography and Conceptual Art in Britain 1966 –1976 (London: Camerawork) 1997

Roberts, J. Selected Errors: Writings on Art and Politics, 1981–90. (London: Pluto Press) 1992

Rosenthal, A. New Challenges for Documentary (Berkeley: University of California Press) 1988

Rosenblum N. A History of Women Photographers (New York: Abbeville) 1994

S Samuel, R. Theatres of Memory Volume 1: Past and Present in Contemporary Culture (London and New York, Verso ) 1994

Sargeant, A. British Cinema: A Critical History (London: BFI Publishing) 2005

Sekula, A. Photography Against the Grain: Essays and Photoworks 1973–83 (London: MACK) 2016 First published Nova Scotia College of Art and Design, 1984

Sontag, S. On Photography (London: Penguin) 1979

13 Sontag, S. Witnessing the Pain of Others (London, Penguin) 2003

Spence, J. Putting Myself in the Picture: a Political, Personal and Photographic Autobiography (London: Camden) 1986

Spence, J., with Dennett, T., Jacobs, C. Tobin, A., Epps, P. Jo Spence: The Final Project (London: Ridinghouse) 2013

Stanley J. (ed) Jo Spence: Cultural Sniping; The Art of Transgression. (London: Routledge) 1995

Stimson, B. The Pivot of the World: Photography and It’s Nation (The MIT Press: Cambridge, MA) 2006

Stoneman, R. (ed.), Independent Film Workshops in Britain 1979 (Torquay: BFI) 1979

Sussex, E. The Rise and fall of British Documentary: The Story of the film movement founded by John Grierson (Berkeley, University of California Press) 1975

T Tagg, J. Power and Photography in Screen Education, No.36, Autumn 1980 (Oxford, Oxford University Press) 1988

Tagg, J. The Burden of Representation: Essays on Photographies and Histories (Hampshire and London: The Macmillan Press Ltd.) 1988

Thomas, P. ‘The British Workshop Movement and Amber Film’ in Studies in European Cinema Vol. 8 (Taylor and Francis Online) Issue 3. 2012

Thompson, E.P. Customs in Common (London, Penguin Books) 1991

14 Tratchtenberg, A. (ed.) Classic Essays on Photography (New Haven: Leete’s Island Books) 1980

Tucker, D. British Social Realism in the Arts Since 1940 (Palgrave Macmillan: Basingstoke, Hampshire) 2011

Tzioumakis, Yannis, and Claire Molloy. The Routledge Companion to Cinema and Politics (New York: Taylor and Francis) 2016

W Warpole, K. Local Publishing and Local Culture: An Account of the Centerprise Publishing Project 1972–1977 (London: Centerprise Trust Ltd) 1977

Wells, L. Photography: A Critical Introduction (London: Routledge) 4th Edition 2009

Wells, L., Newton K. and Fehily, C. Shifting Horizons Women’s Landscape Photography Now (London and New York: Taurus) 2000

Williams, V. Daniel Meadows: Edited Photographs from the 70s and 80s (Maidstone: Photoworks) 2011

Wilson, S. ‘Art Labour, Sex Politics: Feminist Effects’ in 1970s British Art and Performance (Minnesota: University of Minnesota Press) 2015

Witherell, S. ‘Painting the Crisis: Community Arts and the Search for the ‘Ordinary’ in 1970s and ‘80s London in History Workshop Journal Volume 76, Issue 1, 1 October 2013

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