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Home > Art, Film & Photography > Photography & photographs > Photographs: collections > Creative Camera: (The Critical Image)
Creative Camera: (The Critical Image)

Creative Camera: (The Critical Image)


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About the Book

Brink’s provocative biography shows that Spenser was not the would-be court poet whom Karl Marx’s described as ‘Elizabeth’s arse-kissing poet’. In this readable and informative account, Spenser is depicted as the protégé of a circle of London clergymen, who expected him to take holy orders. Brink shows that the young Spenser was known to Alexander Nowell, author of Nowell’s Catechism and Dean of St. Paul’s. Significantly revising the received biography, Brink argues that that it was Harvey alone who orchestrated Familiar Letters (1580). He used this correspondence to further his career and invented the portrait of Spenser as his admiring disciple. Contextualising Spenser’s life by comparisons with Shakespeare and Sir Walter Ralegh, Brink shows that Spenser shared with Sir Philip Sidney an allegiance to the early modern chivalric code. His departure for Ireland was a high point, not an exile.

Table of Contents:
Photography and the mass media, John Szarkowski; the scandal of horror photography, Roland Barthes; letter from New York, Robert Frank; Brassai - talking about photography, interview by Tony Ray-Jones; in praise of the snapshot, Bill Jay; Erich Salomon - historian with a camera, Helmut Gernsheim; personal notes on dismantling the Don McCullin exhibition at the V&A Museum, Mark Haworth-Booth; picturing the end of empire - Cecil Beaton, David Alan Mellor; the Tate Gallery and photography, Colin Osman interviews Alan Bowness; modern photojournalism - the first years, Tim Gidal; "Thinking Photography" reviewed, Stevie Bezencenet; some sacred sites, Ian Jeffrey; letter - dictator and empiricists, Victor Burgin; flash suit, flash myth, an interview with Weegee's widow Wilma Wilcox, Murray Martin; revising femininity?, Susan Butler; current comment - Josef Koudelka, Mark Howarth-Booth; from today black and white is dead, Susan Butler; deja-vu - the rephotographic project, Ian Walker; past caring - an interview with Paul Graham; towards a moral pornography - Joel-Peter Witkin, Gerry Badger; a mirror to yourself - Helen Chadwick interviewed, Tom Evans; John Gossage's "The Pond", Robert Adams; beyond romance - Weston's landscapes, Lewis Baltz; "pilgrims", John Berger; Willie Doherty interviewed, Christopher Coppock; William Klein interviewed, David Brittain; between media and art, Charles Hagen; a book in the life of ... Jo Spence; true confessions - Cindy Sherman interviewed, David Brittain; Karen Knorr interviewed, David Brittain; snapshot from Bohemia, Pavel Buchler; body language, Jo Spence and David Hevey; film as crime, Ed Baxter; "sans-souci" - Christian Boltanski interviewed, Mark Durden and Lydia Papadimitriou; parlour made, Marina Warner; unsettling the West - contemporary American landscape photography, Rebecca Solnit; Zang Tumb Tuum, Craigie Horsfield; "I'm buggered without my prejudices" - Martin Parr interviewed, David Brittain; the morgue - Andres Serrano, Jim Harold; Jeff Wall - digital phantoms, Jeremy Millar; doppelganger - Wendy McMurdo interviewed, Sheila Mawson; new labour - Peter Kinnard interviewed, Shirley Read; between object and image, David Green; Dinos and Jake Chapmans' "Zygotic Exposure", David Green and Joanna Lowry; figures in a landscape, Nicholas Bornoff; photography, video and the everyday, Joanna Lowry; the big shift - Start Hall interviewed, Mark Sealy; defining the moment, Mark Durden; shock photos, John Taylor; obedient numbers, Geoffrey Batchen.


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Product Details
  • ISBN-13: 9780719058059
  • Publisher: Manchester University Press
  • Publisher Imprint: Manchester University Press
  • Height: 240 mm
  • No of Pages: 320
  • Series Title: The Critical Image
  • ISBN-10: 0719058058
  • Publisher Date: 10 Feb 2000
  • Binding: Paperback
  • Language: English
  • Returnable: N
  • Width: 170 mm


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