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Polaroid Cultures

宝丽莱培养物

基本信息

批准号：
AH/E003214/1
负责人：
Peter Buse
金额：
$ 3.42万
依托单位：
University of Salford
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2007
资助国家：
英国
起止时间：
2007 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FE003214%2F1
关键词：
Polaroid Cultures

项目摘要

Following the lead of Benjamin, Kittler and Virilio, this project asks, What is the cultural significance of developments in technologies of the visual? It takes as its case study an image-making technique which is at the point of decay and obsolescence, and therefore, unlike digital imaging, has lost its capacity to dazzle through its apparent novelty: Polaroid, or 'one-step', photography, as it was dubbed by its inventor, Edwin Land. In the supposed immediacy of its image production and in its elimination of the duration-time of a developing process, Polaroid photography appears to anticipate, and therefore constitute a pre-history of, the contemporary proliferation of instant imaging technologies, from missile sighting systems to camera phones. What are, or have been, the implications for human vision and subjectivity of such an acceleration of imaging and objectification? What can a cultural history of Polaroid photography reveal about the related fields of vision, technology, consumption and cultural value?The standard critical discourse on Polaroid photography assumes that it was the apotheosis of cheap and disposable mass image-making, and that the simplicity of its operation had either a democratizing or degrading effect on photography as a whole (depending on your outlook). There is considerable evidence to support this view, particularly from the mid-1970s onwards, but my project will argue that a fuller cultural history of instant photography tells a rather more layered and ambiguous story. In fact, Polaroid photography provides a striking case study of the vicissitudes of cultural value in relation to technologically-driven goods of mass consumption. While the various off-shoots of the first 'absolute one-step' camera, the SX-70 (1972/3), such as the One-Step (1977), became the widest-selling camera in the world, and for a long period Polaroid was second only to Kodak in the mass camera market, the SX-70 itself, and most of its antecedents, starting with the Model 95 (1947/48), were marketed as luxury goods and sold in small volume in exclusive department stores. This basic tension in the social and cultural distinction attached to Polaroid photography is played out in the use made of instant photography by 'art photographers', who were carefully cultivated by the Polaroid Corporation throughout its history and who took advantage of the limited edition 20x24' camera (1978) to make 'unique' prints. In addition, the recycling of Polaroid images by artists as singular found objects is so widespread as to have become a cliché. The Polaroid archive in Cambridge, Mass. will provide an essential resource in investigating these questions.Another way in which the project will gauge the social impact and meanings of Polaroid photography will be through the analysis of representations of instant photography in a range of other media, from print fiction through film and popular magazines on photography. In The Texas Chainsaw Massacre (1974), for instance, the immediacy of instant photography is clearly associated with the primitive or atavistic, while in Alice in the Cities (1974) it epitomises the mechanization of vision suffered by a German traveling across America. In both cases, the making of the Polaroid image suggests the elimination of an intervening human consciousness. In contrast, high end photography manuals by Adams (1963) and Dickson (1964) dedicated to instant photography emphasize the 'expertise' required for operating 'one-step' systems and therefore make the human agent central to the process of 'instantaneous objectification'. Popular photography magazines will be an important resource in identifying the discourse on Polaroid picture-making and will accordingly be surveyed in depth as part of the research.

在本杰明、基特勒和维里利奥的带领下，这个项目提出了一个问题：视觉技术发展的文化意义是什么？它以一种图像制作技术作为案例研究，这种技术正处于衰退和过时的地步，因此，与数字成像不同，它已经失去了通过其明显的新奇而令人眼花缭乱的能力：宝丽来，或“一步”摄影，正如其发明者埃德温·兰德所称的那样。在其图像生产的假定即时性和消除显影过程的持续时间方面，宝丽来摄影似乎预见到了即时成像技术的当代扩散，因此构成了从导弹瞄准系统到照相手机的史前史。这种形象化和客观化的加速对人类视觉和主观性的影响是什么？宝丽来摄影的文化史可以揭示什么相关领域的视觉，技术，消费和文化价值？关于宝丽来摄影的标准批评话语认为，它是廉价和一次性的大众影像制作的典范，其操作的简单性对整个摄影产生了民主化或贬低的影响（取决于你的观点）。有相当多的证据支持这一观点，特别是从20世纪70年代中期开始，但我的项目将认为，一个更完整的即时摄影文化史讲述了一个更加分层和模糊的故事。事实上，宝丽来摄影提供了一个引人注目的案例研究文化价值的变迁与技术驱动的大众消费品。虽然第一台“绝对一步”相机SX-70（1972/3）的各种分支，如一步（1977），成为世界上销售最广的相机，并且在很长一段时间内宝丽来在大众相机市场仅次于柯达，SX-70本身及其大部分前身，从Model 95（1947/48）开始，作为奢侈品销售，在专卖店少量销售。宝丽来摄影在社会和文化上的这种基本张力在“艺术创造者”对即时摄影的使用中得到了体现，他们在宝丽来公司的整个历史中得到了精心培养，并利用限量版20 x24 '相机（1978年）制作“独特”的照片。此外，艺术家将宝丽来图像作为单一发现对象进行回收的做法非常普遍，以至于已经成为陈词滥调。位于马萨诸塞州剑桥的宝丽来档案馆。将为调查这些问题提供重要的资源。该项目将衡量宝丽来摄影的社会影响和意义的另一种方式是通过分析即时摄影在其他媒体中的表现形式，从印刷小说到电影和流行的摄影杂志。例如，在《德克萨斯电锯杀人狂》（1974）中，即时摄影的即时性显然与原始或返祖现象有关，而在《爱丽丝漫游城市》（1974）中，它集中体现了一个穿越美国的德国人所遭受的视觉机械化。在这两种情况下，宝丽来图像的制作都暗示着干预人类意识的消除。相反，亚当斯（1963）和迪克森（1964）的高端摄影手册致力于即时摄影，强调操作“一步”系统所需的“专业知识”，因此使人类代理成为“即时客观化”过程的中心。流行的摄影杂志将是一个重要的资源，在确定话语宝丽来图片制作，因此将深入调查的一部分，研究。