Whose Pictures Are These? Re-framing the promise of participatory photography

Fairey, Tiffany. 2015. Whose Pictures Are These? Re-framing the promise of participatory photography. Doctoral thesis, Goldsmiths, University of London [Thesis]

[img]
Preview
Text (Whose Pictures Are These? Re-framing the promise of participatory photography)
SOC_thesis_FaireyT_2015.pdf - Accepted Version
Available under License Creative Commons Attribution Non-commercial No Derivatives.

Download (21MB) | Preview

Abstract or Description

Participatory photography initiatives promise to ‘empower’, ‘give voice’ and ‘enable social change’ for marginalised communities through photography. This thesis questions this promise, demonstrating participatory photography to be a contested practice defined as much by inherent tension, ethical complexity and its limitations as by its potential. Caught up in governmental practices and instrumental discourses, ‘NGO-ised’ participatory photography has lost its purpose and politics. Using multiple case-studies and presenting empirical research on TAFOS, a pioneering Peruvian participatory photography project, this thesis explores under examined areas of participatory photography practice, including its governmentality, spectatorship and long term impact on participants. It establishes the effectiveness of photography as a tool for fomenting an enduring critical consciousness (Freire 1970, 1973) while questioning the romantic narrative of participatory photography’s inherently empowering qualities and capacity to enable change. Pluralism is used as a theoretical and conceptual framework for re-framing the promise of participatory photography. It is argued that a pluralized notion of participatory photography highlights the paradoxical, uncertain and negotiated character of the practice. It re-conceptualises the method as a mode of mediation that enables a plurality of seeing, that supports emerging and unrecognized claims and that cultivates a critical engagement with difference; qualities that are vital to democratic pluralism. The notion of a ‘Photography of Becoming’ re-imagines the critical and political character of participatory photography and the complex and vulnerable politics of voice in which it is immersed.

Item Type:

Thesis (Doctoral)

Identification Number (DOI):

https://doi.org/10.25602/GOLD.00022355

Keywords:

visual sociology, photography, participatory methods, visual studies, participatory visual methods, participatory photography, NGOs

Departments, Centres and Research Units:

Sociology

Date:

31 October 2015

Item ID:

22355

Date Deposited:

17 Nov 2017 11:17

Last Modified:

29 Apr 2020 16:41

URI:

http://research.gold.ac.uk/id/eprint/22355

View statistics for this item...

Edit Record Edit Record (login required)