权益分类	功能权益	普通用户	{{item.name}}会员
{{category.name}}	{{benefitItem.name}}

Photography as Political Practice in National Socialism

摄影作为国家社会主义的政治实践

基本信息

批准号：
AH/P009883/1
负责人：
Maiken Umbach
金额：
$ 76.75万
依托单位：
University of Nottingham
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2018
资助国家：
英国
起止时间：
2018 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FP009883%2F1
关键词：
Photography Political Practice National Socialism

项目摘要

Photographs crucially defined National Socialism (NS), for contemporaries as well as later generations. Yet outside some instances of formal propaganda, scholars have paid little attention to photos -- with ethical consequences that continue to affect the ways we remember Nazism and its victims today.Millions of photos were taken in this period by hobbyist and casual photographers; an estimated 10% of Germans owned a camera in 1939, many more participated in the practice. These photos are records both of people's engagement with the dictatorship, and of their efforts to distance and separate themselves from it. They are evidence of the interaction between ideology and subjectivity, of politics and lived experience: materially, because many albums mixed personal photos and ideological artefacts, e.g. newspaper cuttings, and metaphorically, because many people positioned themselves in and through photos, as participants in public life under Nazism, at political events and rallies, in organised leisure programmes, child evacuations, volunteer and compulsory labour services, or in the war. Some photos also offer insights into alternate private worlds that individuals sought to construct as a refuge or a place of separation from politics. In the case of Jewish Germans, photos show different emotional dispositions, contracting social spaces, narratives of emigration and escape, or experiences of persecution, in ways that challenge the official photographic record.This project brings a range of methodological insights -- from photographic history, political iconography, visual anthropology, from the study of ego-documents and the everyday lives of ideologies -- to bear on understanding not just what these photos show, but also, how the practice of photography itself shaped political behaviours: taking photos prompted and enabled people to position themselves politically, to assert power over others, or to oppose the ideological hegemony of the regime. Our team combines academic expertise in analysing photography under NS, especially in regard to the regime's marketing of 'private happiness' as a political reward, and for depicting and re-shaping occupied territories and their populations, with our track record in co-developing challenge-driven research questions with practitioners in the museum and education sectors specialising on NS and the Holocaust.We have refined and tested our approach in two pilot projects and publications, and are confident that the systematic analysis of our source base proposed here will yield significant results. We will present the findings in two monographs, devoted respectively to the personal photos of Germans included in the Nazi Volksgemeinschaft, and the Jewish population excluded from it, in academic articles on in-between groups, such as the so-called 'ethnic Germans', and in publications devoted to the pedagogic opportunities created by this research. This project has important ethical implications for both the academic and public use of photos of the history of Nazism today. We shall work with our project partners, the National Holocaust Museum, and other professionals in museums and schools, to develop new pedagogies that draw on private photos reflecting the gaze of victims and that of the perpetrators. We will enable visitors and learners to view photographs -- originally designed to de-humanise their subjects -- to do the opposite.To achieve these aims, we work as an interdisciplinary team: Umbach and Harvey, experts on the relationship between subjectivity and ideology among the different groups living under the NS regime; Mills, specialist in Holocaust education in schools; Benford, specialist in supporting museums to use digital technologies to engage visitors with difficult ethical issues; Necker, who has been involved in innovative exhibition designs for NS and Jewish histories; and Griffiths, project consultant, director of learning at the Holocaust Museum.

对于同时代人和后代人来说，照片至关重要地定义了国家社会主义（NS）。然而，除了一些正式宣传之外，学者们很少关注照片——其道德后果继续影响着我们今天对纳粹主义及其受害者的记忆。这一时期，业余摄影师和休闲摄影师拍摄了数百万张照片；其中包括数以百万计的照片。 1939 年，估计有 10% 的德国人拥有相机，更多的人参与了这一实践。这些照片既记录了人们与独裁政权的接触，也记录了他们与独裁政权保持距离和分离的努力。它们是意识形态与主观性、政治与生活经验之间相互作用的证据：在物质上，因为许多相册混合了个人照片和意识形态文物，例如报纸剪报，隐喻性地，因为许多人在照片中或通过照片将自己定位为纳粹主义下公共生活、政治活动和集会、有组织的休闲计划、儿童疏散、志愿者和强制劳动服务或战争的参与者。一些照片还提供了人们对另类私人世界的见解，这些世界是个人试图构建的避难所或与政治分离的地方。就犹太德国人而言，照片以挑战官方摄影记录的方式展示了不同的情感倾向、收缩的社会空间、移民和逃亡的叙述或迫害经历。这个项目带来了一系列方法论见解——来自摄影史、政治图像学、视觉人类学、自我文献研究和意识形态的日常生活——不仅有助于理解这些照片所展示的内容，而且有助于理解摄影本身塑造了政治行为：拍照促使并使得人们能够在政治上定位自己，主张对他人的权力，或反对政权的意识形态霸权。我们的团队结合了分析国家服役下的摄影的学术专业知识，特别是在该政权将“私人幸福”作为政治奖励进行营销，以及描绘和重塑被占领土及其人口方面的学术专业知识，以及我们与博物馆和教育部门专门研究国家服役和大屠杀的从业者共同开发挑战驱动的研究问题的记录。我们在两个试点项目和出版物中完善和测试了我们的方法，并有信心此处提出的对我们的源库的系统分析将产生显着的结果。我们将在两本专着中介绍这些发现，分别介绍纳粹国民议会中的德国人和被排除在外的犹太人的个人照片、关于中间群体（例如所谓的“德国人”）的学术文章，以及专门介绍这项研究创造的教学机会的出版物。该项目对于当今纳粹主义历史照片的学术和公众使用具有重要的伦理意义。我们将与我们的项目合作伙伴、国家大屠杀博物馆以及博物馆和学校的其他专业人士合作，开发新的教学法，利用反映受害者和肇事者目光的私人照片。我们将使参观者和学习者能够观看照片——最初是为了使他们的主题失去人性而设计的——以达到相反的效果。为了实现这些目标，我们作为一个跨学科团队工作：乌姆巴赫和哈维，他们是研究国民服役政权下不同群体的主观性和意识形态之间关系的专家；米尔斯，学校大屠杀教育专家； Benford，支持博物馆使用数字技术吸引游客解决棘手的道德问题的专家； Necker，曾参与国民服役和犹太历史的创新展览设计；格里菲斯（Griffiths），项目顾问，大屠杀博物馆的学习主任。