Amplifications in photographic production and the increased access to images in the 21st century uniquely position photography to articulate and intervene in social structures of power and provide new opportunities for civic engagement. In particular, photography has the potential to articulate and resist what can be understood as a politics of disposability, or the ways in which particular populations are rendered superfluous to the economic and social logic of neoliberalism and channeled out of society. I assert that neoliberal violence must be understood, in part, as a visual problem: the particularities of representation and visibility must be examined in light of the need to consider neoliberal social and economic policies as something other than an inevitability. This dissertation explores the ways that photography can serve to make visible not only the people and discourses that have been marginalized and suppressed, but the structures of disposability itself.
Developments in artistic practices and departures from traditional documentary genres converge with precarious labor conditions for cultural workers to widen the parameters for photographic production. The resulting work engages both with the ontological questions of what documentary photography has become as well as with its ability to operate as a potential site of activism—rather than mere representation—through new modes of mediation. This dissertation examines new photographic work that addresses the multiple facets of a neoliberal politics of disposability, the effects of which are compounded by race, class, and gender: police violence and domestic militarization, the skyrocketing rate of women’s incarceration, and the institutional threats to youth and activism in the public sphere. These emergent photographic practices employ new strategies of visualization in order to complicate the viewer’s relationship to representations of violence, contributing to a discourse that broadens the possibility for a critical and productive use of photographs, and imagining alternatives to the material and ideological conditions of neoliberal disposability. / Thesis / Doctor of Philosophy (PhD) / This dissertation examines the ability of emergent modes of documentary photography to articulate and resist social and political violence that is characteristic of neoliberalism, for example the domestic militarization and increased incarceration rates, the shrinking of access to the public sphere, and the particular ways in which certain populations become especially vulnerable to such violence. Shifts in photographic production thanks to new media platforms and the reconfigurations of traditional photography genres have produced photographic strategies that are crucially poised to address such issues. The photographers and projects explored in this dissertation employ new ways of visualizing violence, speaking back to the ways that photography can be used to stultify discourse and misrepresent populations, and harnessing innovative modes of proliferating their work to produce new photographic and political communities.
| Identifer | oai:union.ndltd.org:mcmaster.ca/oai:macsphere.mcmaster.ca:11375/22885 |
| Date | January 2018 |
| Creators | Peters, Clorinde |
| Contributors | Giroux, Henry, Searls Giroux, Susan, Clark, David, English and Cultural Studies |
| Source Sets | McMaster University |
| Language | English |
| Detected Language | English |
| Type | Thesis |
Page generated in 0.0015 seconds