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Indicative Bibliography 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,
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