350MC Working with Photography in Context – Revised Proposal

Holly Constantine

“Memories and Place”


Mode of Presentation Selected:

I have chosen to take part in the Symposium event for this project. Although public speaking makes me incredibly anxious, I feel that it is a very important skill to possess within the creative industries. Choosing to take part in this professional practice event will therefore allow me to develop my presentation skills and confidence whilst also diversifying the professional experiences that can be found on my CV.


Description of Subject to be Investigated:

In my previous proposal, I stated that I was currently undergoing the process of conceptualizing more specific theories and arguments based around the overarching theme of “Cultural Memory of Landscapes”. After conducting a vast amount of research, I now think that my overarching theme will be based around “Memories and Place”.

Still relating back to my idea for my Final Major Project (reconnecting with my deceased Grandfather by revisiting places within the Lake District that represent significant childhood memories that I shared with him), Kate McMillian suggested that I try and identify the type of memories that I am interested in, in order to gain further inspiration and ideas. After reading “Emotional Geographies” (edited by Dr. Joyce Davidson, Professor Liz Bondi, and Mr. Mick Smith) I was able to classify my perceived memories into the “reverie” category – defined by Philo (2003) as “A state where consciousness can slip back towards a more dreamlike state, where the imagination, freed from the firm direction of focused thought and action, can begin to ‘drift’ back into all the remembered spaces, events and feelings which are in our minds.

Once identifying the type of memories I was interested in, I continued with my research process (where I looked at books including “Rites of Return: Diaspora Poetics and the Politics of Memory” edited by Marianne Hirsch and Nancy K. Miller, and “Beyond Pleasure: Freud, Lacan, Barthes” by Margret Iversen) and soon found that I was continuing to be inspired by the same themes and ideologies:

  • Bereavement and reminiscence and how they relate to reverie memories
  • Returning to places to reconnect with the deceased loved ones/reverie memories, and using places as memory triggers
  • False memories and how an individuals imagination can adjust memories and the memory timeline

Following the identification of inspiring themes, I then went over my research for case studies of photographers/artists and noticed that the works Ann Chwatsky (“WHEN I WAS A GIRL” – looked at memory of landscapes by using landscapes as an expressive tool within photomontages that portray particular childhood [reverie] memories), and Mikael Levin (“War Story” – looked at landscape and memory by retracing his fathers World War II journey through Europe, and visited places that were associated with his fathers memories and experiences) linked well with the specific themes stated above.


Sources to be Utilised:

The research I will be using to support this project will include both primary and secondary sources. The primary sources will include first-hand experiences and systematic observation, and the secondary sources will include academic articles/books and theoretical works/case studies of photographers/artists.


Methods to be used in Acquisition of Sources:

The first-hand experience and systematic observation will be acquired through visits to places of personal, memorial significance within the Lake District. By including these primary methods, I will need to make sure that the ideas demonstrated within the project lack bias by using found theories to support my experiences and claims.

Secondary sources such as academic articles/books, and theoretical works/case studies of photographers/artists, will not only be acquired through library-based research but also through one-to-one sessions and topical discussions.

Theoretical works/case studies of photographers/artists should also include works that explore the chosen theme from a variety of mediums (for example, painter, contemporary photography, etc.) to increase the integrity of the project.


Methods of Interpretation/Analysis to be used with the Information and Sources:

As stated in my previous proposal, I planned on gaining an understanding of general theories surrounding the “Cultural Memory of Landscapes”. By doing this, I have now been able to use this understanding to identify recurring ideologies and arguments that relate to the idea of “Memories and Place”.

Using case studies of different photographers and artists (that will presumably include the works of  Ann Chwatsky, and Mikael Levin – stated above) will also help me to refine my theory/argument and increase my projects integrity.


Plan Schedule of Work:

Beginning of November – Having gained a general understanding surrounding the overarching theme of “Cultural Memory of Landscapes”, I will continue researching into the main theories and arguments of the revised overarching theme (“Memories and Place”) in order to allow me to identify recurring ideas that I may want to include within my Symposium.

End of November/Beginning of December – I will plan what to include in my symposium presentation depending on the recurring arguments and debates found throughout my research

Mid December – I will write the first draft of my symposium script ready for the in-class hand-in date (this may be a skeletal plan at the time of the hand-in, but I will later adjust and improve it to create my first official draft)

December and January – I will continue to adjust my first draft (making more drafts) until the final script for my presentation is complete

Mid to late January – I will create a PowerPoint Presentation to accompany my speech whilst also preparing answers to any potential questions

January and February – I will practice my symposium numerous times until I feel confident with my delivery and prepared for the Symposium event



Practices of Looking: An Introduction to Visual Culture by Marita Sturken and Lisa Cartwright

Photography: A Critical Introduction (Fourth Edition) edited by Liz Wells

Land Matters: Landscape Photography, Culture and Identity by Liz Wells

Landscape And Memory: Cultural Landscapes, Intangible Values And Some Thoughts On Asia by Ken Taylor

Cultural Memories: The Geographical Point of View edited by Peter Meusburger, Michael Heffernan and Edgar Wunde

Landscapes of Memory and Experience edited by Jan Birksted

Landscape, Theory New York, NY : Lustrum Press c1980

Landscape Within: Insights And Inspirations For Photographers by David Ward

Photography and Landscape by Rod Giblett and Juha Tolonen 

Landscape Photography by Lyle Trusty

Connecting With The Creator: A Landscape Photographer Discovers A Spiritual Dimension To Photography, Which Can Create A Sanctuary Where People Feel At Peace(Critical Essay) by Ken Duncan

Finding Inspiration In Ordinary Landscape by Denis Gionet

Landscape and Memory by Simon Schama

Innocent Landscapes by David Farrell

Imagined Communities by Benedict Anderson

Theatres of Memory Vol. 1, Past and Present in Contemporary Culture by Raphael Samuel

Questions of Cultural Identity by Stuart Hall

A Dream of England: Landscape, Photography, and the Tourist’s Imagination by John Taylor

Landscape as Photograph by Estelle Jussim and Elizabeth Lindquist-Cock

Photography: A Cultural History (Fourth Edition) by Mary Warner Marien

The Photograph as Contemporary Art by Charlotte Cotton

The Photograph by Graham Clarke

The Art Of Memory by Frances A Yates

Spectral Evidence: The Photography of Trauma by Ulrich Baer

Emotional Geographies edited by Dr. Joyce Davidson, Professor Liz Bondi, Mr. Mick Smith

Evocative Objects: Things We Think With by Sherry Turkle

The Spirit of Mourning: History, Memory and the Body by Paul Connerton

Camera Lucida by Roland Barthes

The Optic of Walter Benjamin edited by Alex Coles

Illuminations by Walter Benjamin

Psychoanalysis in Art History (Vol. 17, No. 3 – September 1994) by Margaret Iversen

Psychoanalysis and the Image edited By Griselda Pollock

Art and Thought edited by Dana Arnold and Margaret Iversen

Locating Memory: Photographic Acts edited by Annette Kuhn and Kristen Emiko McAllister

Rites of Return: Diaspora, Poetics and the Politics of Memory by Marianne Hirsch and Nancy Miller

Beyond Pleasure: Freud, Lacan, Barthes by Margaret Iversen

History – The Last Things Before the Last by Siegfried Kracauer and Paul Oskar Kristeller (Author)

Memory, History, Forgetting by Paul Ricoeur

Family Frames: Photography, Narrative, and Postmemory by Marianne Hirsch

Family Secrets: Acts of Memory and Imagination by Annete Kuhn

The Thread of Life by Richard Wollheim

The Nature And Source Of Emotion by Sebastian Gardner