000			02902nam a22005177a 4500
001			009175
008			160926s1988||||pe a|||| |||| 00| 0 eng d
245			_aThe burden of representation. Essays on photographies and histories
100	1		_aTagg, John _918830
260			_aBasingstoke: _bMacmillan Education , _c1988
300			_a[59 p.] _bil., b/n.
650			_aHISTORIA DE LA FOTOGRAFIA _910865
650			_aANALISIS HISTORICO _99318
650		0	_aEnsayos _98370
650		0	_aFotografía _97744
500		0	_aPhotographs are used as documents, records and evidence every day in courtrooms and hospitals, on passports and driving licences. But how did photographs come to be established and accepted, what sort of agencies and institutions have the power to enforce this status and, more generally, what concept of photographic representation is entailed and what are its consequences? In addressing such issues, John Tagg traces a previously unexamined history which has profound implications not only for the theory and practice of conventionally separated areas of amateur, professional, technical, documentary and art photography, but also for the understanding of the role of photography in processes of modern social regulation.
500		0	_aCapitulo 1: A democracy of the image: photographic portraiture and commodity production
942	0	0	_cLIBRO
901			_a00922 _b00922
902			_aM
903			_am
904			_aD
905			_aFondo Antiguo
906			_a050505
908			_a00922
913			_aTagg, John
915			_aThe burden of representation. Essays on photographies and histories
917			_a[59 p.]
928			_aMacmillan Education
929			_aBasingstoke
930			_aUK
932			_ail., b/n.
933			_a1988
934			_a19880000
947			_aEN
948			_aPhotographs are used as documents, records and evidence every day in courtrooms and hospitals, on passports and driving licences. But how did photographs come to be established and accepted, what sort of agencies and institutions have the power to enforce this status and, more generally, what concept of photographic representation is entailed and what are its consequences? In addressing such issues, John Tagg traces a previously unexamined history which has profound implications not only for the theory and practice of conventionally separated areas of amateur, professional, technical, documentary and art photography, but also for the understanding of the role of photography in processes of modern social regulation.
948			_aCapitulo 1: A democracy of the image: photographic portraiture and commodity production
954			_aFOTOGRAFIA
961			_a _a _aSiglo XX
964			_a121210
965			_aset
999			_c12895 _d12895