Visual history

from Wikipedia, the free encyclopedia

Visual history is a field of research that is emerging primarily within the context of modern history and contemporary history, which regards images (static as well as dynamic or electronically generated and linked) both as sources and as independent objects of historical research and deals with the visuality of history as well as with the Historicity of the visual is concerned.

Visual history is characterized by a broad, interdisciplinary approach to the visual in history. It combines specific historical analysis methods with knowledge and analytical methods from art history and art history and those from related disciplines such as philosophy (above all phenomenology and semiotics ), anthropology and folklore, ethnology and media studies . Related approaches can be found in the context of German-language historical studies under the terms historical image studies and historical image research. In the Anglo-Saxon language area there are overlaps with Visual Studies , Visual Culture Studies or Visual Anthropology.

About the term visual history

The term visual history was first used in German-speaking countries in 1991 by the historian and image scientist Gerhard Jagschitz . This called for a socio-scientific and holistic examination of the medium of image, similar to what happened with the medium of sound in oral history . The contemporary historian Gerhard Paul expanded the subject of investigation, which initially seemed limited to photography, to include all visual media, such as postcards , posters , comics and caricatures , films or electronic images from television and the Internet . The development of this research field was strongly influenced by the visual and iconic turn in the humanities , cultural and social sciences at the beginning of the 1990s, which, as a reaction to the language monopoly of the linguistic turn, placed the investigation of images, signs and symbols in the foreground. Art historians such as William JT Mitchell or Gottfried Boehm asked about the importance of visuality for human thinking and perception and thus promoted the development of the new discipline Visual Culture Studies , which can be seen as an interdisciplinary umbrella for the historical pillar of visual history.

The new research perspective on contemporary history benefited on the one hand from the experience of historical image research that had been built up by medievalists and researchers of the early modern period working with image sources. These were transferred to moving images and expanded to include options for dealing with modern electronic mass image sources, which understood the image as an independent communicative medium. On the other hand, methods of historical visual studies , traditionally practiced by art historians, were used , the focus of which was on the analysis of the image motif. In contrast to this, the conditions of production, distribution and reception of the image should be included in the analysis in addition to the image content . According to Paul, the term comprises three aspects: firstly, it contains the visual perception , conception and conception of history as well as the historical development of the optical, secondly, it deals with all methods that enable knowledge to be gained from visual objects and thirdly, Paul hopes for a new one digital and networked representation of historical contexts.

Development of the research direction

As early as the middle of the 19th and early 20th centuries, historians such as Jules Michelet , Jacob Burckhardt and Karl Lamprecht carried out image studies on the history of mentality and tried to derive collective contemporary moral concepts from works of art. However, there was no systematic image analysis method analogous to source criticism , as was customary in dealing with texts in the history of science. Methodological debates did not begin until the 1920s. The knowledge of art historians who were now responsible for the image and historians who were responsible for the text should be productively combined. Interrupted by the Second World War, such cooperation was only revived in the 1960s and further developed by individuals. The history of mentality and everyday life played an important influence in the 1980s and 1990s, which saw the picture as an independent source and thus particularly enriched research into the Middle Ages and the early modern period. The extensive image material in these epochs continues to stimulate new research questions to this day, such as the question of the art historian Gabriele Wimböck, from when a picture has "authority".

The cultural and political sciences with their analyzes of the visual language in social and political movements of the 20th century have also enabled new approaches to image analysis . Additional subject areas were opened up in the 1990s through memory and memory research by Harald Welzer and Aleida and Jan Assmann , who understand images as "engines of tradition". The museum and exhibition area and memorial work have also dealt intensively with media such as posters and photography and their effect on the recipients .

The VisualTurn arrived after a hesitant process, which was to Habbo Knoch at a temporarily existing intellectual "iconophobia" in German history. According to Paul, the reasons for the change are not only a paradigm shift that has been driven by a younger generation of historians, but also technical developments such as the Internet , which among other things would have made extremely simplified image research possible using private computers.

According to Paul, there is still a need for action in the research area of ​​visual history in the development of reliable methods of analysis of the reception of visual media and the increased focus on moving images, even if the still image, according to Susan Sontag, has a particularly haunting effect on human perception and is "in memory "hard disk" brand.

Concept of the image and the figurative

The interdisciplinary reassessment of visual media led to a discussion about the concept of image. Similar to more general image science, image definition is a fundamental, but also controversial and discussed starting point for visual history. The question of whether and how images, different image forms and ways of production, reproduction, reception and interpretation of visual media can be theoretically systematized plays an important role. For historical studies , the central methodological basis of which is traditionally the source analysis , an image term is initially obvious that deals with the contemporary context of creation reflected in the image. Historians traditionally focus primarily on material images. Since, according to the historian Jens Jäger , images are manifested in what would be seen in a society in a certain historical period as "worthy of depiction, as normal, as deviating, as beautiful or ugly", images are always part of the formation and influence of opinion . Pictures would have taken on the function of expressing a relationship between people and the world. A picture can of course be interpreted differently depending on the historical question. Also Heike Talkenberger sees the images are not as pure image, but as influencers of reality that opinion , fear could build and a counter-reality. When working on these sources, one deals with the “fantasy production of a society”. Martina Heßler emphasizes that historical studies should not only see the image as a source, but must also deal with the limits and possibilities of the image as a medium, its functionality and its historical significance in history.

The art historians Martin Warnke and Horst Bredekamp , who are considered the founders of political iconography , have been analyzing the political conditions of images since the 1980s and influencing the conceptual debate in this direction. Bredekamp developed the “theory of the image act” and showed that a picture is not only a representation of reality, but also creates new realities itself. As examples, he cited the US series "Holocaust", which was broadcast in 1979, or the Wehrmacht exhibition , which, as a traveling exhibition between 1995 and 1999, would have triggered violent reactions. According to Gerhard Paul , images would be included about the blowing up of the Buddha statues in March 2001, about the terrorist attack on the World Trade Center on September 11, 2001, or about the Abu Ghuraib torture scandal in a US prison in occupied Iraq in May 2004 exert such an effect that they themselves could in turn trigger new historical events.

The various image, art and cultural studies discussions and the image definitions developed in them offer further opportunities to approach the complex and controversial subject matter of the image, which is why they are often used in the discussion about the concept of visual history. In his two monographs Iconology (1986) and Picture Theory (1994), the art historian WJT Mitchell presented extensive drafts within the theoretical discussion of the theory of images. Mitchell strongly emphasizes the socio-cultural relativity of image perception and anchors his concept of image centrally in the everyday understanding of the visual. Mitchell distinguishes between five categories of images in the context of iconology: graphic (such as paintings, but also statues), optical (such as projections), perceptual (sensory data and appearances), mental (dreams, memories, ideas) and linguistic images. According to him, these five images can be assigned to different scientific contexts. For example, optical images are the subject of physics , linguistic images, on the other hand, are part of literary studies / literary critical analysis, while perceptual images, for example , would be examined in the border area of physiology , neurology , psychology and art history . Mitchell's concept of image thus clearly contains material and immaterial images and is based on both everyday and scientifically institutionalized thinking about imagery. In another respect, according to Mitchell, images can also be divided into natural-mimetic (depicting) and artificially expressive (alienated) images, taking up the criterion of similarity, which has been widely discussed (and controversial) in art history. With reference to theorists such as Marshall McLuhan and Michel Foucault , Mitchell focuses on the visual materiality. Based on the linguistic turn brought into the discussion by Richard Rorty , Mitchell proposed the analysis in the sense of a pictorial turn (further explanation of terms in the article Iconic Turn ). In the reception it is emphasized that Mitchell's concept of image is aimed primarily at social contexts and political questions.

In an independent approach, the art historian and philosopher Gottfried Boehm developed an image theory under the catchphrase of an Iconic Turn (see Ikonische Wende ), which is strongly influenced by hermeneutic and phenomenological principles. According to Boehm, pictures should be redefined in their “absoluteness” in a fundamental and interdisciplinary approach due to the specific iconic difference . As part of a “return of images”, there is also the prospect of a rejection of linguistic thought and communication patterns. The cultural scientist Doris Bachmann-Medick sums up Boehm's guiding principle as follows: "In response to the dominance of media studies, this [what is meant is a general image science in Boehm's sense] should initially be anchored in art history: to explore the logic of images and a new analytical approach to win image cultures. " The iconic difference of a picture thus means "its belonging to material culture as well as its simultaneous participation in the sphere of symbolic meaning. It captures the basic contrast of the pictures between their being made and their meaningful representational and referential character, between (material, media and technical) production and power of representation. "

In the sense of image anthropology , which was brought into the discussion above all by Hans Belting , images must not be treated in isolation, but are the result of personal and social symbolization. Humans live in a world shaped by images and understand it in images. Accordingly, according to Belting, the concept of the image should only be thought of in anthropological terms. According to him, it is the recurring experiences of space, time and death that humans capture in images. Nevertheless, he is not the producer of the pictures, but is exposed to them. For the German art historian and media theorist, the question "What is a picture?" Can not be understood without the "How?" The content as we know it from texts cannot be clearly determined following this approach. As an example, one can use the old image of Mary from Guadalupe , which was the symbol of Spanish colonial rule before Mexico's declaration of independence and then became a symbol of the young state. The way we looked at the same picture had changed.

The questions of what makes an image an image and what distinguishes an image from a text are answered differently in different methodological approaches. The particular challenge when analyzing images seems to be that an image is both an object and a transported content. So the picture represents something that it is not itself. It shows itself and at the same time something else. This ambivalence between the material and the immaterial can be better illustrated in English, as one differentiates between the terms picture and image . Another answer to the question of imagery can be found in image semiotics . Here there is no bipolar relationship between the sign and the designated object, so there is no direct representation. Instead, the approach is based on a three-way relationship: Ferdinand de Saussure has developed a sign model in which he differentiates between three levels, the signified , the signifier and the referent of a sign. Significant and signified together form the sign. The signifier is the expression side of the sign, i.e. a sound, a word or even an image. The signified is the concept, content or meaning conveyed by the sign. Finally, the referent is a thing, object or state of affairs to which the signifier, hence the sign, relates. This can be illustrated with an exemplary symbol, for example a picture of a bottle: someone paints a bottle, the representation is the telling signifier. Because both the painter and the observer have the same idea (signature) of a bottle, it is possible to infer the referent, i.e. the "real" object "bottle". In summary, it can be stated here that the object and the sign do not naturally belong together. On the one hand, the symbol is used arbitrarily for an object and, on the other hand, the connection is based on social agreement (see also arbitrariness ). If you switch to the field of language, this statement can be easily explained. The word "tree" by nature has nothing to do with the "actual" object "tree"; the connection between word and object is ultimately based on conventions. This can also be illustrated with another example: The word "armchair" in Germany means something different than in large parts of Austria. Only through the conventions of the respective language community is the word clearly associated with a certain object. If you think of other signs such as gestures, this sign can express something positive in one cultural area and represent an insult in another. These linguistic considerations about signs can also be transferred to the field of images. With regard to the image of a tree, however, the connection with the object does not seem arbitrary. We identify the image of a tree with the object tree because it is similar. Traditionally, according to this idea, images were mainly images. In the 19th century at the latest, this definition of images as images with its principle of similarity reached its practical limit, because painting increasingly turned away from the principle of similarity through the pressure of the competing and "realistic" form of expression photography . In terms of theory, too, this term was no longer tenable when the American philosopher Nelson Goodman insisted on the essence of the supposed similarity between object and image. Here Umberto Eco was able to show that the understanding of visual similarity is also based on social conventions. But if a picture is a visual sign, it has to be subject to a certain code so that we can understand it. The nature and mechanisms of these codes and conventions tries to determine scientifically the image semiotics.

In defining images, communication researcher and political scientist Marion G. Müller refers to various image terms that have already been put forward in the theoretical discussion, such as WYD Mitchell's typological distinction between images (see above in this article section). According to Müller, the dilemma of many image theories is the fixation on a material image concept, which disadvantages or excludes immaterial images. In an attempt to find a solution, Müller joins the art historian and cultural scientist Aby Warburg in order to interpret images in their material portrayal character as materialized images of thought . Images could serve as “complex sources for the reconstruction of the mental images”. Purely immaterial images of thought such as dreams, music, metaphors or ideas are not accessible to communication-oriented research, which is why an image concept that is primarily committed to the image must be chosen. Furthermore, Müller differentiates between the following four communicative contexts of images in their production, but also reception, which can be mutually related to one another: artistic, commercial, journalistic and scientific. Images can always be interpreted in a revealing way with regard to all four contexts. The most important principle of all visual communication is the associative intrinsic logic, which differs from the rational-argumentative approach of a text, although, according to Müller, text and image are definitely interdependent. Associations can, however, be explained primarily on the basis of role models, "whose meanings can be analytically deciphered and thus interpreted".

Accesses, methods and analysis contexts in the field of visual history

There are very different approaches for the broad-based and multi-perspective research program of visual history and attempts at its concrete design, which often refer to concepts and procedures in related disciplines such as art history and sociology or transdisciplinary approaches such as discourse analysis . These should be further developed to approach objects of historical interest in order to be used in the sense of visual history. The components of these approaches discussed here can include theoretical figures of thought, conceptual concepts, analysis perspectives or concrete methods for analysis in the narrower sense.

While Martin Lengwiler advocates a “double reference system”, which on the one hand examines the “immanent image” and at the same time the historical and social environment, Gerhard Paul and the Göttingen historian Karin Hartewig advocate an open, flexible, non-canonized mix of methods.

The power of historical studies using visual sources is in their historical contextualization. Those procedures that are necessary for the analysis of the image are almost always borrowed from neighboring disciplines and are adapted to the needs of historical studies , which in turn shows that historical studies have so far developed only few genuine methods of analyzing the image . Rather, those methods of historical science are those that determine the meaning of visual sources for society , culture and economy . The use of methods from other disciplines, however, also obliges to deal with the respective contexts of the theoretical models and any problems that may arise from them.

Furthermore, the question of how images receive evidence and authority must be investigated . At this point, evidence means that images are sometimes ascribed great authenticity . Authority is to be understood as the quality of being able to measure behavior. The portrait is said to convey something more accurately and reliably about the appearance of a person than a description of a text could. Likewise, the portrait offers more and more direct information about the sitter than other forms of transmission. The example of the portrait shows how the chosen medium can be responsible for this. Whether a person can be represented in a painting or in a photograph already says something. Knowing who and why a person had a portrait made is also crucial. The mentioned evidence is less due to the image and the content of the image than, more precisely, to the attribution of the techniques used. Contextual knowledge from other media of contemporary observers is required for this and this is what makes historical studies accessible.

Gerhard Paul: Basic accesses of visual history to images

Gerhard Paul takes up the thought figure of an interdisciplinary, methodologically wide-ranging work, since the visual history does not offer ready-made methods, but rather represents a framework that invites you to constantly cross borders and to experiment with approaches. Basically, Paul sees the conceivable approaches to images within this “framework” of visual history as the most comprehensive possible access to visual media, some of which have already been established in historical studies, but others still have to be developed. On three basic levels, Paul names ways of addressing images within historical research: They can be understood as historical sources , as (communicative) media and finally as "generative", i.e. "independently effective forces".

On the first level, that of the sources, according to Paul, images “were used on a high level as sources and objects of historical knowledge, especially in Medieval studies and in the history of the early modern period ”. An expansion of this basic willingness to "previously image-abstinent" research areas is often done with the aim of adding images to the established canon of sources in order to pursue research questions that are mostly related to cultural studies. In this perspective, images often serve as sources for "contemporary perspectives, for socially and culturally shaped perspectives, as media of interpretation". According to Paul, despite clear research desiderata (such as the lack of consideration of the "particular obstinacy" referring to the image itself or a recognizable distance to moving images, such as cinematic sources), increasing attention is being paid to Paul, which he classifies as a positive development . Paul also assesses the pluralism of methods practiced in practice, which reflects cooperation with different disciplinary research concepts.

The second level with Paul is the one who sees images primarily as media. Images are primarily characterized by their communicative functions, whereby their consideration as a “ self-referential aesthetic system” is also important. Images play a much more active role here than in the pure reading as sources: they are understood, for example, as "traditional motors" that "generate and transport a certain interpretation of history". When analyzing images from the economic-commercial area, for example in advertising, or for example images with a propagandistic function, this perspective would provide important food for thought with regard to their functionality in the "collective identity formation", which is based on viewing images as historical sources in the went beyond the narrower sense.

Thirdly, finally, it is possible and necessary to view images as independent “generative forces”. This means that images are said to have the ability to become effective themselves as quantities that create history: "Images, however, are more than sources that refer to a fact or event outside their own existence; they are more than media that use their aesthetic Potential conveying interpretations or generating meaning; images also have the ability to create realities first of all. " In this context, Paul speaks closely following Horst Bredekamp's theory of the “image act” of moving the “energetic and generative potency” of the image into the center of attention, which has so far mostly been neglected. In addition to the concrete image content, the possible classifiability of the image or its immanent and external contexts, the performative and active aspect is important here, which is revealed in "striking" or "provocative" images. Such images can be attributed the ability to "trigger individual or collective actions such as pain and protest". Above all, Paul sees a void in historical research at this level of image interpretation and calls for an opening towards "historiographical image act research", "which also understands images as image acts that in turn generate history."

Heike Talkenberger: Historical analysis methods

In 1998, Heike Talkenberger categorized five approaches to historical image analysis that should be flexibly combined with one another. Objects and the structure of an image motif could be examined with the approach of real-life image information and interpreted as examples of a past material culture . However, the production conditions, the distribution or the reception of the images were excluded. Following on from Erwin Panofsky, the individual image is the focus of iconographic or iconological viewing . The composition and iconographic details of the image would be included as an expression to explain human norms, values ​​and cultural conceptions of an era . Here Talkenberger advocates a serial, iconographic view of images, which on the one hand also evaluates "lower genres" such as leaflets, photographs, posters and postcards, and on the other, examines longer periods of time in order to be able to analyze the change in social attitudes to the subject and genre . The functional analysis image viewing could the style and the background of the image formation, so as examining client, reception and social functions of the image. The semiotic approach translates the visual signs and symbols in the picture according to Talkenberger and is suitable, since it focuses on the symbolism of the picture and its communicative function, especially for the investigation of works of art or motifs that are used in advertising. With the aesthetic reception approach , the question of how the viewer of the picture gives meaning to the picture can be investigated. Talkenberger's compilation therefore endeavors to cover the broadest possible methodological spectrum in the approach to images and thereby makes productive references to very different image theories.

Rainer Wohlfeil following Aby Warburg and Erwin Panofsky: Historical visual studies

A frequently cited approach to historical image analysis and interpretation is the historical visual science approach that Rainer Wohlfeil developed in the early 1980s and which, in its methodological three-step scheme, is based on the image analyzes of the Hamburg art and cultural historian Aby Warburg and based on his student Erwin Panofsky .

Warburg's central concern in “ Iconology ” is to make pictorial content as such an object of consideration instead of concentrating on an analysis of style and form. From this, Panofsky developed the art-historical canonized model of the “three-step iconological step” (see also iconology). The first step, the pre-iconographic description, examines the historical context of an image, its structure and the displayed content as well as some design features with regard to colors and use of light. The iconographic analysis , the second step, decodes the system of internal references and meanings in the image, emphasizing the artistic intention. The third step, the iconological interpretation , finally goes beyond the image and analyzes external, social references, i.e. the socio-cultural meaning of the image. The work of art is seen as a reflection of cultural relationships and patterns of interpretation.

Although Panofsky's model takes less account of the historical context of the image than Warburg's iconology suggested, the methodical three-step approach, as also used by Rainer Wohlfeil in historical visual studies, became an important point of contact in historical studies. The connection between history and art history is clearly evident in the formation of theories based on image analysis. Wohlfeil also proposed an investigation in three steps: 1) pre-iconological description , 2) iconographic-historical analysis (which in turn examines in three steps an analysis of the iconographic means, the source character and the historical, socially founded contexts of origin and effects of the image ) and 3) Developing the sense of historical documents . In this last step, the image is to be interpreted as an element within a culture that can be determined over time by historical science and as an "expression of a historical mentality ". In doing so, the cultural contexts reflected in the image are considered and an attempt is made from a reverse perspective to clarify the influence of the image on these very contexts. Wohlfeil's procedure focused primarily on the historical-scientific embedding of image analysis, but adopted Panofsky's clearly recognizable important thought patterns for the procedure. The central aspect of the historical-scientific approach according to this form of image analysis is the assumption that the historical documentary sense of the images allows a gain in knowledge compared to other types of historical sources , such as text and material sources.

Jens Jäger, Martin Knauer: Historical image research

The Historic image research , which by historians Jens Hunter and Martin Knauer is driven, assumes that the historiographical image research presuppose a broad concept of the image must when trying to evaluate the images as evidence of social, economic and political developments. Historical image research, however, only deals with material images, which in particular ignores metaphorical images, but does not mean a complete exclusion of mental images, since the two spheres cannot be separated from one another. Because all paintings , statues , but also films were created in connection with mental images, but these are not historiographically tangible. Although they can be available as texts or in other media, the question of the extent to which material images are expressions of mental images has not (yet) been adequately researched historically.

Discourse-theoretical image analysis methods

Discourse or dispositive analytical image interpretation processes follow an independent path of analysis in connection with central concepts of the post-structuralist philosopher Michel Foucault and their diverse discourse-theoretical extensions, such as those developed by Jürgen Link and Siegfried Jäger under the catchphrase of a critical discourse analysis.

In a compilation of the discussion of a critical discourse analysis of images, Sebastian Friedrich and Margarete Jäger state that a particular difficulty of many approaches lies in the fact that the impression must be avoided that it is a matter of a discourse analysis fixed on texts in the conventional understanding that simply “appends images “Would. Instead, analytical methods that are explicitly geared towards image forms and oriented towards discourse theory are sought. According to Friedrich and Jäger, the central question to be dealt with is whether images represent an objectification of knowledge or knowledge sui generis.

While Foucault addressed imagery quite generally on the fringes of his work and in connection with art, subsequent approaches such as those represented by Sabine Maasen , Torsten Mayerhauser and Cornelia Renggli attempt to understand images as elements of dispositifs in the Foucaultian sense. In an attitude that analyzes institutionalized power / knowledge complexes, it is important to focus analytically on the "complex, mutually dependent, interacting relationships between the visible and the sayable". This perspective emphasizes the knowledge-generating and social reality-constructing power of images and visual discourse evidence. Here, the ability to connect to the possible orientation of visual history highlighted by Gerhard Paul, to view images as “generative” forces. Based on forms of governmentality research , representatives of discourse-theoretical image approaches also see the possibility of productively analyzing their interweaving with power structures by working out the normalization functions (see also normalism ) of images.

literature

See also

Web links

Institutions and projects

Workers history

Proletarian amateur photography after the First World War Worker photography under "Collections" in the photo library

Comic history

Comics as a historical source Article by Christine Gundermann on visual-history.de

GDR history

ddrbildarchiv.de Contemporary press photo archive from the new federal states

Art in the GDR Anna Littke and Anja Tack (eds.), Research project picture atlas Art in the GDR

1989 - 1990, times of change, pictures, sounds, comments from GDR television

The building of the wall in 1961 The building of the wall in 1961 on radio and television in the GDR

Educational history

Pictura Paedagogica Online Digital image archive on the history of education (DFG-funded project: Library for research on the history of education of the German Institute for International Educational Research and the Institute for Applied Educational Science and General Didactics of the University of Hildesheim)

History of photography

Photography and history Jens Jäger, eBook and materials on photography and history

History of violence

9/11 as a picture event Anne Becker, book 9/11 as a picture event. For visually coping with the attack

First World War in the photo library First World War collection in the photo library

German autumn Jan-Holger Kirsch, Annette Vowinckel, Annette Schuhmann, RAF focus on zeitgeschichte-online.de with articles and materials

Global history

Online Archive - African Independence Days Department of Anthropology and African Studies, University of Mainz

South America in visual media of the 19th and 20th centuries Jens Jäger, Barbara Potthast (project leader), DFG project "Visions and Visualizations"

Globalized images - postcards and photography Jens Jäger, reflections on the media bracketing of "East" and "West"

Colonial history

Colonial representations on picture postcards Norbert Finzsch, Jens Jäger, Margit Szöllösi-Janze (Head), DFG project "Colonialism and African Diaspora on picture postcards"

Image-scientific analysis of photojournalism in the 1920s and 30s Henrick Stahr, "Photojournalism between exoticism and racism. Representations of blacks and Indians in photo-text articles by German weekly illustrators, 1919–1939"

Art history

Image index of art and architecture German Documentation Center for Art History - Photo Archive Photo Marburg

Mentality history

Rear View Mirror Automobile Images and American Identities

Nazi history / history of remembrance

The Shoah Foundation's archive USC Shoah Foundation. Institute for Visual History and Education, Audio-visual Interviews with survivors and witnesses of the Holocaust and other genocides

70 days of violence, murder, liberation Lower Saxony memorials: The end of the war

Everyday Photography under National Socialism Michael Wildt (project leader), Photography under National Socialism. Everyday visualization of communalization and exclusion practices 1933–1945

Film reaction "Your mothers, their fathers" Main focus on zeitgeschichte-online.de : Reaction in Poland to the German film "Your mothers, their fathers"

Political history

The digital picture archive of the Federal Archives Pictures, aerial photos and posters on the subjects of Weimar Republic, Third Reich, GDR, FRG

Newsreel Archive Federal Archives Koblenz (ed.)

Technology history

The 80s - photos from the Ruhr area Reinhard Krause, photo collection on cultural history

Traces of human work Horst Bauer, picture gallery Industry Culture History

indugrafie.de Bjoern Huehn, industrial photography on the NRW culture server

History of science

Image practice of scientific photography between 1880 and 1920 Part of the project Institutions and Media of Image Memory Jürgen Danyel, Annette Vowinckel (Head), ZZF Potsdam , the Herder Institute in Marburg, the Georg Eckert Institute for International Textbook Research in Braunschweig and the Deutsches Museum in Munich.

Individual evidence

  1. ↑ a b Gerhard Paul : From Historical Imagery to Visual History. An introduction. In: Gerhard Paul (Ed.): Visual History. A study book . Vandenhoeck & Ruprecht, Göttingen 2006, p. 26.
  2. ↑ Martin Lengwiler : practical book history. Introduction to historical methods. Orell Füssli , Zurich 2011, p. 131 f.
  3. ^ Gerhard Paul: Visual History, Version: 3.0 . In: Docupedia-Zeitgeschichte , March 13, 2014, p. 5, accessed on March 15, 2015.
  4. ^ Gerhard Paul: From the historical image to the visual history. An introduction. In: Gerhard Paul (Ed.): Visual History. A study book . Vandenhoeck & Ruprecht, Göttingen 2006, p. 10 f.
  5. ^ Gerhard Paul: From the historical image to the visual history. An introduction. In: Gerhard Paul (Ed.): Visual History. A study book . Vandenhoeck & Ruprecht, Göttingen 2006, p. 10.
  6. ^ Gerhard Paul : From the historical image to the visual history. An introduction. In: Gerhard Paul (Ed.): Visual History. A study book . Vandenhoeck & Ruprecht, Göttingen 2006, p. 27.
  7. ↑ Martin Lengwiler: practical book history. Introduction to historical methods , Zurich 2011, pp. 131–133.
  8. ↑ Gabriele Wimböck: The Authority of the Image - Perspectives for a History of the Image in the Early Modern Age. In: Frank Büttner, Gabriele Wimböck (ed.): The image as an authority. The normative power of the image. LIT Verlag, Münster 2004, pp. 9–43.
  9. ↑ Jens Jäger: Photography and History , Frankfurt / M. 2009, p. 14.
  10. ↑ Habbo Knoch: Renaissance of Image Analysis in the New Cultural History . In: Matthias Brun, Karsten Borgmann (ed.): The visibility of history. Contribution to a historiography of images , (= Historical Forum . Volume 5). H-Soz-Kult , Berlin 2005, p. 49, accessed on September 1, 2014.
  11. ^ Gerhard Paul : Visual History, Version: 3.0 . In: Docupedia-Zeitgeschichte , March 13, 2014, p. 3, accessed on March 15, 2015.
  12. ^ Gerhard Paul: Visual History, Version: 3.0 . In: Docupedia-Zeitgeschichte , March 13, 2014, p. 4, accessed on March 15, 2015.
  13. ↑ a b Gerhard Paul: From Historical Imagery to Visual History. An introduction. In: Gerhard Paul (Ed.): Visual History. A study book . Vandenhoeck & Ruprecht, Göttingen 2006, p. 28.
  14. ↑ Jens Jäger: Photography and History . Campus-Verlag, Frankfurt / M. 2009, p. 14 f.
  15. ↑ Jens Jäger: Photography and History . Campus-Verlag, Frankfurt / M. 2009, p. 16.
  16. ^ Gerhard Paul : From the historical image to the visual history. An introduction. In: Gerhard Paul (Ed.): Visual History. A study book . Vandenhoeck & Ruprecht, Göttingen 2006, p. 9.
  17. ↑ Martin Lengwiler : practical book history. Introduction to historical methods. Orell Füssli, Zurich 2011, p. 144.
  18. ^ Gerhard Paul : Visual History, Version: 3.0 . In: Docupedia-Zeitgeschichte , March 13, 2014, p. 22, accessed on March 15, 2015.
  19. ^ Gerhard Paul: Visual History, Version: 3.0 . In: Docupedia-Zeitgeschichte March 13, 2014, p. 23, accessed on March 15, 2015.
  20. ↑ Cf. Marion G. Müller : Basics of visual communication. Theoretical approaches and analysis methods . 2nd Edition. UVK, Konstanz 2013, p. 18. Cf. also Gerhard Paul: From historical image science to visual history. An introduction. In: Gerhard Paul (Ed.): Visual History. A study book . Vandenhoeck & Ruprecht, Göttingen 2006, p. 11 f.
  21. ↑ See also iconic turn .
  22. ^ WYD Mitchell : Iconology: Image, Text, Ideology. University of Chicago Press, Chicago 1987, pp. 9-14. see. In summary, Marion G. Müller: Basics of visual communication. Theoretical approaches and analysis methods . 2nd Edition. UVK, Konstanz 2013, p. 18.
  23. ↑ See WJT Mitchell: Iconology. Image, Text, Ideology , University of Chicago Press, Chicago 1987, pp. 9-14. see. In summary, Marion G. Müller: Basics of visual communication. Theoretical approaches and analysis methods . 2nd Edition. UVK, Konstanz 2013, p. 19.
  24. ↑ See without author, picture questions review of May 27, 2014 on Hans Belting (ed.), Picture questions. The image sciences on the move . Wilhelm Fink Verlag , Munich 2007. In: Iconic Turn, accessed on March 15, 2015.
  25. ^ Doris Bachmann-Medick : Cultural Turns. Reorientation in cultural studies . 5th edition. Rororo , Hamburg 2014, p. 329.
  26. ^ Doris Bachmann-Medick: Cultural Turns. Reorientation in cultural studies . 5th edition. Rororo, Hamburg 2014, p. 336.
  27. ^ Hans Belting : Image Anthropology. Designs for an image science . Wilhelm Fink Verlag, Paderborn 2011, p. 11 f.
  28. ^ Hans Belting: Image Anthropology. Designs for an image science . Wilhelm Fink Verlag, Paderborn 2011, p. 12.
  29. ^ Hans Belting: Image Anthropology. Designs for an image science . Wilhelm Fink Verlag, Paderborn 2011, p. 54.
  30. ↑ Christine Brocks: Image sources of the modern times . Verlag Ferdinand Schöningh , Paderborn 2012, p. 13.
  31. ↑ Christine Brocks: Image sources of the modern times . Verlag Ferdinand Schöningh, Paderborn 2012, p. 14.
  32. ↑ Christine Brocks: Image sources of the modern times . Verlag Ferdinand Schöningh, Paderborn 2012, p. 15.
  33. ^ Marion G. Müller : Basics of visual communication. Theoretical approaches and analysis methods . 2nd Edition. UVK, Konstanz 2013, p. 20.
  34. ^ Marion G. Müller: Basics of visual communication. Theoretical approaches and analysis methods . 2nd Edition. UVK, Konstanz 2013, p. 22.
  35. ↑ Martin Lengwiler : practical book history. Introduction to historical methods. Orell Füssli, Zurich 2011, p. 147.
  36. ^ Gerhard Paul : Visual History, Version: 3.0 . In: Docupedia-Zeitgeschichte March 13, 2014, p. 7, accessed on March 15, 2015.
  37. ↑ Jens Jäger; Martin Knauer (Ed.): Pictures as historical sources? Dimension of the debates on historical image research , Munich 2009, p. 15.
  38. ↑ a b Jens Jäger; Martin Knauer (Ed.): Pictures as historical sources? Dimension of the debates on historical image research , Munich 2009, p. 16.
  39. ^ Gerhard Paul : From the historical image to the visual history. An introduction. In: Gerhard Paul (Ed.): Visual History. A study book . Vandenhoeck & Ruprecht, Göttingen 2006, p. 26 f.
  40. ↑ Recently published in Gerhard Paul: Visual History, Version: 3.0 . In: Docupedia-Zeitgeschichte March 13, 2014, p. 6, accessed on March 15, 2015. See the structure of the article, in which explanations follow on all three levels.
  41. ↑ a b Gerhard Paul: Visual History, Version: 3.0 . In: Docupedia-Zeitgeschichte March 13, 2014, p. 6, accessed on March 15, 2015.
  42. ↑ See Gerhard Paul: Visual History, Version: 3.0 . In: Docupedia-Zeitgeschichte , March 13, 2014, p. 12, accessed on March 15, 2015.
  43. ↑ See Gerhard Paul: Visual History, Version: 3.0 . In: Docupedia-Zeitgeschichte , March 13, 2014, p. 11, accessed on March 15, 2015.
  44. ↑ See Gerhard Paul: Visual History, Version: 3.0 . In: Docupedia-Zeitgeschichte , March 13, 2014, pp. 7f., Accessed on March 15, 2015.
  45. ↑ a b Cf. Gerhard Paul : Visual History, Version: 3.0 . In: Docupedia-Zeitgeschichte , March 13, 2014, p. 21, accessed on March 15, 2015.
  46. ↑ See Gerhard Paul: Visual History, Version: 3.0 . In: Docupedia-Zeitgeschichte , March 13, 2014, pp. 23f., Accessed on March 15, 2015.
  47. ↑ Cf. Gerhard Paul : From the historical image to visual history. An introduction. In: Gerhard Paul (Ed.): Visual History. A study book . Vandenhoeck & Ruprecht, Göttingen 2006, p. 9 f.
  48. ↑ Cf. Martin Lengwiler : Praxisbuch Geschichte. Introduction to historical methods. Orell Füssli, Zurich 2011, p. 134.
  49. ↑ See, for example, Martin Lengwiler: Praxisbuch Geschichte. Introduction to historical methods. Orell Füssli, Zurich 2011, p. 141.
  50. ↑ Ralph Andraschek-Holzer: Historical Imagery - History, Methods, Outlook . In: Wiener Zeitschrift zur Geschichte der Neuzeit 2/2006, pp. 6–20, here: p. 12.
  51. ↑ Martin Lengwiler: practical book history. Introduction to historical methods. Orell Füssli, Zurich 2011, p. 140.
  52. ↑ a b cf. Gerhard Paul : From the historical image to visual history. An introduction. In: Gerhard Paul (Ed.): Visual History. A study book . Vandenhoeck & Ruprecht, Göttingen 2006, p. 9 and Martin Lengwiler : Praxisbuch Geschichte. Introduction to historical methods. Orell Füssli, Zurich 2011, p. 137 u. 140 f.
  53. ↑ Ralph Andraschek-Holzer: Historical Imagery - History, Methods, Outlook . In: Wiener Zeitschrift zur Geschichte der Neuzeit 2/2006, pp. 6–20, here: p. 11.
  54. ↑ Jens Jäger; Martin Knauer (Ed.): Pictures as historical sources? Dimension of the debates about historical image research . Wilhelm Fink Verlag, Munich 2009, p. 17.
  55. ↑ Sebastian Friedrich; Margarete Jäger : Critical Discourse Analysis and Images. Methodological and methodological considerations for expanding the tool box. In: DISS-Journal. Newspaper of the Duisburg Institute for Language and Social Research (DISS) , 21/2011, pp. 14-16, accessed on March 15, 2015.
  56. ↑ Sabine Maassen, Torsten Mayer Hauser, Cornelia Renggli: image discourse analysis , in: This. (Ed.): Images as Discourses - Image Discourses , Weilerswist 2006, pp. 7–26, here: p. 8.
  57. ↑ Torsten Mayerhauser: Discourses Images? Reflections on the discursive function of images in polytechnological dispositifs, in: Sabine Maasen, Torsten Mayerhauser, Cornelia Renggli (eds.): Images as discourses - image discourses. Velbrück, Weilerswist 2006, pp. 71-94.