東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

Photography Distinguishes Itself: La...

Berger, Lynn.

FindBook

Google Book

Amazon

博客來

Photography Distinguishes Itself: Law and the Emerging Profession of Photography in the Nineteenth-Century United States.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Photography Distinguishes Itself: Law and the Emerging Profession of Photography in the Nineteenth-Century United States./
作者:	Berger, Lynn.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2016,
面頁冊數:	363 p.
附註:	Source: Dissertation Abstracts International, Volume: 77-07(E), Section: A.
Contained By:	Dissertation Abstracts International77-07A(E).
標題:	Communication. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10024133
ISBN:	9781339517018

Photography Distinguishes Itself: Law and the Emerging Profession of Photography in the Nineteenth-Century United States.
Berger, Lynn.

Photography Distinguishes Itself: Law and the Emerging Profession of Photography in the Nineteenth-Century United States. - Ann Arbor : ProQuest Dissertations & Theses, 2016 - 363 p.

Source: Dissertation Abstracts International, Volume: 77-07(E), Section: A.

Thesis (Ph.D.)--Columbia University, 2016.

This item is not available from ProQuest Dissertations & Theses.

This dissertation examines the role of the law in the development of photography in nineteenth century America, both as a technology and as a profession. My central thesis is that the social construction of technology and the definition of the photographic profession were interrelated processes, in which legislation and litigation were key factors: I investigate this thesis through three case studies that each deal with a (legal) controversy surrounding the new medium of photography in the second half of the nineteenth century. Section 1, "Peer Production" at Mid-Century, examines the role of another relatively new medium in the nineteenth century -- the periodical press -- in forming, defining, and sustaining a nation-wide community of photographers, a community of practice. It argues that photography was in some ways similar to what we would today recognize as a "peer produced" technology, and that the photographic trade press, which first emerged in the early 1850s, was instrumental in fostering knowledge sharing and open innovation among photographers. It also, from time to time, served as a site for activism, as I show in a case study of the organized resistance against James A. Cutting's "bromide patent" (1854-1868). Section 2, Spirit Photography, Boundary-Work, and the Socio-Legal Shaping of Photography, focuses on the attempts of Oscar G. Mason and other photographers to get "spirit" photographer William H. Mumler behind bars for fraud and deception in 1869. Seeking to uphold the image of photography as a scientific, mechanically objective technology, and that of the photographer as an honest, trustworthy, and honorable professional, these photographers turned the courtroom into an arena for both the social construction of technology and for policing the boundaries of the photographic profession. Section 3, "Privacy, Copyright, and Photography in the United States , is about a question that photographers, publishers, courts and legislators spent much of the nineteenth century struggling to answer: who was the rightful author, and therefore owner, of a photograph? The Section details why that question arose when it did -- in the final third of the nineteenth century -- as well as the different ways in which photographers, their opponents, and representatives of the law struggled to define the nature of photography along with the meaning of photographic copyright. It also deals with the emergence, around the turn of the century, of a third party claiming ownership in the photograph -- the sitter -- and with how the "right to privacy" was formulated in part to accommodate that party. Finally, this third Section reveals the sometimes contradictory and often quite resourceful ways in which both the advocates and adversaries of photographic copyright enlisted the right to privacy in order to back up their own property claims, even when the nascent privacy right was meant to curtail the power of both these parties.

ISBN: 9781339517018Subjects--Topical Terms:

524709
Communication.

Photography Distinguishes Itself: Law and the Emerging Profession of Photography in the Nineteenth-Century United States.
LDR:04112nmm a2200349 4500 001 2203704
005 20190606091702.5
008 201008s2016 ||||||||||||||||| ||eng d
020 $a 9781339517018
035 $a (MiAaPQ)AAI10024133
035 $a (MiAaPQ)columbia:13167
035 $a AAI10024133
040 $a MiAaPQ $c MiAaPQ
100 1 $a Berger, Lynn. $3 3430509
245 1 0 $a Photography Distinguishes Itself: Law and the Emerging Profession of Photography in the Nineteenth-Century United States.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2016
300 $a 363 p.
500 $a Source: Dissertation Abstracts International, Volume: 77-07(E), Section: A.
500 $a Adviser: Michael S. Schudson.
502 $a Thesis (Ph.D.)--Columbia University, 2016.
506 $a This item is not available from ProQuest Dissertations & Theses.
520 $a This dissertation examines the role of the law in the development of photography in nineteenth century America, both as a technology and as a profession. My central thesis is that the social construction of technology and the definition of the photographic profession were interrelated processes, in which legislation and litigation were key factors: I investigate this thesis through three case studies that each deal with a (legal) controversy surrounding the new medium of photography in the second half of the nineteenth century. Section 1, "Peer Production" at Mid-Century, examines the role of another relatively new medium in the nineteenth century -- the periodical press -- in forming, defining, and sustaining a nation-wide community of photographers, a community of practice. It argues that photography was in some ways similar to what we would today recognize as a "peer produced" technology, and that the photographic trade press, which first emerged in the early 1850s, was instrumental in fostering knowledge sharing and open innovation among photographers. It also, from time to time, served as a site for activism, as I show in a case study of the organized resistance against James A. Cutting's "bromide patent" (1854-1868). Section 2, Spirit Photography, Boundary-Work, and the Socio-Legal Shaping of Photography, focuses on the attempts of Oscar G. Mason and other photographers to get "spirit" photographer William H. Mumler behind bars for fraud and deception in 1869. Seeking to uphold the image of photography as a scientific, mechanically objective technology, and that of the photographer as an honest, trustworthy, and honorable professional, these photographers turned the courtroom into an arena for both the social construction of technology and for policing the boundaries of the photographic profession. Section 3, "Privacy, Copyright, and Photography in the United States , is about a question that photographers, publishers, courts and legislators spent much of the nineteenth century struggling to answer: who was the rightful author, and therefore owner, of a photograph? The Section details why that question arose when it did -- in the final third of the nineteenth century -- as well as the different ways in which photographers, their opponents, and representatives of the law struggled to define the nature of photography along with the meaning of photographic copyright. It also deals with the emergence, around the turn of the century, of a third party claiming ownership in the photograph -- the sitter -- and with how the "right to privacy" was formulated in part to accommodate that party. Finally, this third Section reveals the sometimes contradictory and often quite resourceful ways in which both the advocates and adversaries of photographic copyright enlisted the right to privacy in order to back up their own property claims, even when the nascent privacy right was meant to curtail the power of both these parties.
590 $a School code: 0054.
650 4 $a Communication. $3 524709
650 4 $a American history. $3 2122692
650 4 $a Organizational behavior. $3 516683
650 4 $a Accounting. $3 557516
650 4 $a Criminology. $3 533274
690 $a 0459
690 $a 0337
690 $a 0703
690 $a 0272
690 $a 0627
710 2 $a Columbia University. $b Communications. $3 1684272
773 0 $t Dissertation Abstracts International $g 77-07A(E).
790 $a 0054
791 $a Ph.D.
792 $a 2016
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10024133