Snapshot Stories: Visuality, Photography, and the Social History of Ireland, 1922-2000

Cover
Snapshot Stories: Visuality, Photography, and the Social History of Ireland, 1922–2000
Copyright
Acknowledgements
Contents
List of Figures
List of Abbreviations
Introduction: Visuality, Photography, and the Social History of Ireland, 1922–2000
1: Beaches and Sunlight: Photograph Albums and Youthful Memories, c.1922–50
	Dorothy Stokes and the Unique Oscillations of Convention
	James F. and the Poetics of the Japanese Parasol
	William C. and Snapshots of Distance
2: Clasped Hands and Clear Complexions: Studio Portraits and Respectability, 1922–60
	Portrait Studios in Ireland
	Positive and Negative in Waterford
	Circulation of Images
	Finding meaning in mass-produced images
3: Dark Rooms and Developing Fluid: Amateur Photographers, Photographic Clubs, and the Irish Landscape, 1945–70
	Camera Clubs in Ireland 1945–75
	Photographing Rural Landscape
	Photographing in Kodachrome
	Photographing Buildings
	Photographing Industry
	Club photography debated
4: Community and Representation: Empowerment, Activism, and the Image, 1970–90
	Leaving community photography undefined
	Buzz Logan and landscape photography on the Shankill
	Camerawork Derry and the Meaning of the Darkroom
	Dublin and the recital of an incident that illuminates destinies
5: Flesh and Blood Violence, Truth, and the Troubles, 1965–75
	Battle of the Bogside and the Scarman Tribunal
	Bloody Sunday and the Widgery Tribunal
6: Power and Place: Documentary Photography, Politics, and Perspective, 1970–95
	Documentary in the 1980s
	Derek Speirs and activist imagery
	Joanne O’Brien and the Migrant Gaze
	Frankie Quinn’s Photographic Eulogies to the Short Strand
Conclusion: Digital Analogue Images and the Appearance of Historical Distance
Bibliography
	Primary Sources
	Secondary Literature
Index