Reli(e)ving Memory: Representations of Collective and Individual Remembrance through Late 20th and Early 21st Century Photographic Practices

MgA. Marija MANDIĆ

Doctoral thesis

Abstract:

The notion of memory entered a multitude of humanist and social studies particularly in the 20th century, eventually becoming the autonomous field of study itself. The expansion of the theory of memory is practically in permanent development and formation since the broad aspect of themes can potentially enter this discourse, but also due to the intense interest in the past and remembrance of this era. In that relation, an increasing interest of photographers for memory has become notably visible in the late 20th century and is still present in the 21st century, although these and akin notions have occupied the art world from the 1960s onwards. With the development of memory studies, photographic works that deal with the topic of remembrance through interpretation of its various forms and its translation into the visual language, can be analyzed through that theoretical framework and thus establish a more precise definition in that relation. Representation of memory in photographic practices is noticeable within the frame of diverse strategies and approaches, some of which are scrutinized in this dissertation, so as to create a basis for the reading of those and other works. In addition to the theoretical part, the artistic research includes a practical element, which is realized as a multimedia work titled July 32 created in the context of the theme in question. In this dual mode of theoretical and practical approach, photographic medium is featured not in the sense of its equalization with remembrance, but in terms of its capabilities for articulating memory itself.

Abstract:

The notion of memory entered a multitude of humanist and social studies particularly in the 20th century, eventually becoming the autonomous field of study itself. The expansion of the theory of memory is practically in permanent development and formation since the broad aspect of themes can potentially enter this discourse, but also due to the intense interest in the past and remembrance of this era. In that relation, an increasing interest of photographers for memory has become notably visible in the late 20th century and is still present in the 21st century, although these and akin notions have occupied the art world from the 1960s onwards. With the development of memory studies, photographic works that deal with the topic of remembrance through interpretation of its various forms and its translation into the visual language, can be analyzed through that theoretical framework and thus establish a more precise definition in that relation. Representation of memory in photographic practices is noticeable within the frame of diverse strategies and approaches, some of which are scrutinized in this dissertation, so as to create a basis for the reading of those and other works. In addition to the theoretical part, the artistic research includes a practical element, which is realized as a multimedia work titled July 32 created in the context of the theme in question. In this dual mode of theoretical and practical approach, photographic medium is featured not in the sense of its equalization with remembrance, but in terms of its capabilities for articulating memory itself.

Keywords

visual art, photography, memory studies, theory of collective memory, individual memory, remembrance, photographic strategies

Language used: English

Date on which the thesis was submitted / produced: 1. 11. 2021

Accessible from:: 31. 12. 2999

Thesis defence

• Supervisor: prof. Mgr. Zdena Kolečková, Ph.D.

JAN EVANGELISTA PURKYNĚ UNIVERSITY IN ÚSTÍ NAD LABEM

Faculty of Art and Design

Doctoral programme / field:
Fine Art / Visual Communication