Editor's introduction

Documentary photography has always been confronted by criticisms and self-doubts about its method and purpose. Can pictures ostensibly intruding into the lives of the poor and the destitute, whether taken by academics, reformers or professional photographers, ever be legitimate? This article suggests that these concerns actually determine the way mainstream American social photography looks. Such is the case, at least, in a cliché which has run through the US documentary tradition since the 1930s, and which could be labelled ‘doorstep portraits’. Examples drawn from the famous Farm Security Administration archive and from Oraien Catledge's work in Atlanta's Cabbagetown in the 1980s show individuals and families sitting for a picture on the threshold of their house. This image is a meaningful convention because it seems to encode the nature of the relationship between photographer, subject and audience. This ritual ‘presentation of the self’ takes place as the private lives of the sitters are being transformed into public visual discourse through the photographic image. The first part of this paper attempts to define doorstep portraits as a kind of ‘metapicture’ – to use W.T.J. Mitchell's term. The issue of ‘access’ in documentary practice is then briefly described as the methodological problem which this metapicture engages. Erving Goffman's definition of ‘performance’ and Edward T. Hall's proxemics provide a theoretical framework for understanding how this engagement works. Finally, the normative dimension of documentary's visual conventions in the context of liberal reform discourse is re-examined in the light of this model.     

Editor's introduction

This paper is a study of American postcards which represent African Americans as “happy Darkeys.” 1 suggest that the oppressive visual metaphor of other‐as‐child positioned black subjects in a racist regime of representation which constructed subjectivities for those depicted and identities for their viewers. I then describe the distinguishing characteristics of these images, analyze the meanings they convey, and the social uses that they serve.     

Editor's introduction: ethics in visual research

This essay addresses a group of contemporary artworks which qualify as photography and painting at the same time. Because these works lack medium-specificity, several theorists refer to them as ‘pictures’. Analysis of this concept's etymological origin and of the art-historical context in which it appeared indeed reveals the concept's usefulness for discussing this particular group of artworks. However, merely defining them as ‘pictures’ would imply that important and interesting effects of the combination of photography and painting in these works are ignored, if not negated. This is why the authors coin the term ‘multi-mediating picture’ as a preferable concept in this context. As such it not only refers to the clearly discernible multiplication of media in these works, but it also indicates the layered and delayed perception that results from this multiplication. The authors demonstrate the suitability of their concept through a case-study of two photographs by Louise Lawler. Their analysis is geared to processes of appropriation involving both other media and images made by other artists.     

Michel Maffesoli's sociology of modernity and postmodernity: an introduction and critical assessment

This article introduces and criticises Michel Maffesoli's attempt to formulate a post-modern sociology for post-modern times. While arguing that Maffesoli's sociology is suggestive and insightful about many aspects and features of late-modern life this article, nonetheless, questions whether Maffesoli's approach should be accepted as a fruitful sociological paradigm which others should take up uncritically. Moreover, it will be argued that Maffesoli's approach is an ultimately incoherent and one-sided approach to studying the ‘postmodern condition’ in that it does not escape the problem of ‘performative contradiction’ identified by the likes of Habermas, Giddens and Touraine. That is to say, Maffesoli has produced a one-sided and flattened out image of modernity that cannot account for the possibility of social and political critique.     

Editor's introduction: visual studies,digital imaging and new media

This study explores the repetitive patterns of visual representations in contemporary U.S. local television news by looking at the coverage of the ‘fall of the Berlin Wall’ in November, 1989. Feature stories from three television stations in Minneapolis‐St. Paul are examined as typical examples from a local U.S. television station. The main research questions are: what aspects of the conflict between East and West Germany were included in the television coverage, and which were left out? How was the background to the event, both historical and ideological, presented in the reports? How was the Berlin Wall and the changes associated with its dismantling represented visually? The project has been informed by the analysis national news coverage in the United States and West Germany which provided a cross‐cultural dimension to the study.     

European identity: between modernity and postmodernity

The purpose of this inquiry is to rethink the concept of European identity within the framework of the Declaration on European Identity and the Charter of European Identity. It will be argued that those documents employ the modernist notion of a centered, rational, stable, autonomous and unified self. However, this idea of the self leads to exclusion and essentialism. In this way, European identity cannot embrace the multiculturalism of European societies. Thus, it should be replaced by a more flexible, dynamic and shifting concept of identity.     

Editor's Notes:

LOOKING back on the glorious history of New China since her founding half a century ago, especially the recent twenty years' efforts towards reform, great changes and countless miracles have taken place in this mysterious and ancient land, which was once both weak and poor. Last October