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2013 | 57 | 1 | 22-28
Tytuł artykułu

Photographs and Film Recordings as Valuable Documents in Sports History Research

Autorzy
Treść / Zawartość
Warianty tytułu
Języki publikacji
EN
Abstrakty
EN
Photographs and film recordings have not been commonly used as source material in sports history research. However, every moment and every movement captured in photographs tell us things that researchers could have seen if they had been on the spot when the picture was taken. I suggest that photos and films can be read in the same way as any sign systems, such as writing or maps. The points of departure for my analysis of movement in photographs and film recordings are kinesthetic empathy and the idea that the meanings of most body movements are established to the extent that they are part of our cultural heritage and contain signs and symbols we can relate to. Furthermore, observations made from these documents can be analyzed with the help of theories from other research fields. Using the methods of dance research, such as Rudolf Laban’s movement analysis, Janet Adshead’s dance performance analysis, Marcel Mauss’s habitus concept, and John Martin’s dance analysis, styles, movement languages, and conventions of exercise and sport in photos and films can be identified. In addition, in accordance with photographic research by Roland Barthes, I will reflect on the fringe conditions of the use of photographs as research material, the kind of opportunities they offer, and the kind of limitations they set for the researcher.
Wydawca
Rocznik
Tom
57
Numer
1
Strony
22-28
Opis fizyczny
Daty
wydano
2013-03-01
online
2013-03-15
Twórcy
autor
Bibliografia
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  • Barthes, R. (1978). Elements of Semiology. New York: Hill & Wang.
  • Barthes, R. (1990). Kuvan retoriikka. (1964). In M. Lintunen (Ed.), Kuvista sanoin 3. Helsinki: Suomen Valokuvataiteen museon säätiö.
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  • Gibson, J.J. (1979). The Ecological Approach to Visual Perception. Boston: Houghton Mifflin.
  • Gourevitch, P. & Morris, E. (2009). The Ballad of Abu Ghraib. New York: Penguin Books.
  • Laban, R. (1966). Choreutics. London: Macdonald and Evans.
  • Laban, R. (1991). Tanssiteatteri ja liikekuoro /Dance theater and movement chorus/. In T. Suhonen (Ed.), Hetken vangit (pp. 120-138). Helsinki: VAPK-kustanne. Teatterikorkeakoulu.
  • Laban, R., Lawrence, F.C. (1947). Effort. London: Macdonald and Evans.
  • Lefebvre, H. (2002). The Production of Space. Oxford: Blackwell.
  • Martin, J. (1936). The Background and Personalities of Modern Dance. U.S.A.: Dodge Publishing Company.
  • Martin, J. (1969). Introduction to the Dance. third printing. U.S.A.: Dance Horizons.
  • Mauss, M. (1979). Sociological and Psychological Essays. London, Boston, Henley: Routledge & Kegan Paul.
  • Pitkänen, P. (2011). Transparentti media. University of Lapland. Helsinki: Unigrafia Oy.
  • Raiford, L. (2009). Photography and the Practice of Critical Black Memory. History and Theory. Studies of Philosophyof History, 48, 4, 112-129.
  • Sekula, A. (1987). Reading the Archive. In B. Wallis (Ed.), Blasted Allegories: An Anthology of Writings byContemporary Artists. Cambridge, MA: MIT Press.
  • Thornton, S. (1971). A Movement Perspective of Rudolf Laban. London: MacDonald & Evans Ltd.
  • Wegner, D.M. (2002). The Illusion of Conscious Will. Cambridge (Mass.): MIT Press.[WoS]
Typ dokumentu
Bibliografia
Identyfikatory
Identyfikator YADDA
bwmeta1.element.-psjd-doi-10_2478_pcssr-2013-0004
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