000			02127cam a2200361 a 4500
003			OCoLC
005			20221103180921.0
008			080908s2009 mnua b s001 0 eng
010			_a 2008039551
011			_aDirect search result
020			_a0816642885
020			_a9780816642885
040			_aDLC _beng _cDLC _dBTCTA _dBAKER _dYDXCP _dUKM _dC#P _dBWX _dCDX _dIXA _dVVC _dGEBAY _dEUM _dMIX _dBDX _dOCLCF _dCHVBK _dDEBBG _dOCLCQ _dMOR _dOCLCQ _dCSJ _dOCLCO _dDHA _dOCLCQ _dIOK _dOCLCQ _dERL _dCCH _dMNI _dOCLCQ _dWYU _dUKMGB _dEUX _dOCLCA
050	0	0	_aTR183 _b.T344 2009
082	0	0	_a779 _223
100	1		_aTagg, John, _eauthor. _91021600
245	1	4	_aThe disciplinary frame : _bphotographic truths and the capture of meaning / _cJohn Tagg.
264		1	_aMinneapolis : _bUniversity of Minnesota Press, _c[2009]
264		4	_cc2009
300			_axxxviii, 392 pages : _billustrations, _c22 cm
336			_atext _btxt _2rdacontent
337			_aunmediated _2rdamedia
338			_avolume _2rdacarrier
504			_aIncludes bibliographical references (pages 265-377) and index.
505	0		_aThe one-eyed man and the one-armed man: camera, culture and the state -- The plane of decent seeing : documentary and the rhetoric of recruitment -- Melancholy realism: Walker Evans's resistance to meaning -- Running and dodging, 1943: the breakup of the documentary moment -- The pencil of history : photography, history, archive -- A discourse with shape of reason missing: art history and the frame.
520			_aHow do photographs gain their meaning and power? John Tagg claims that, to answer this question, we must look at the ways in which everything that frames photography - the discourse that surrounds it and the institutions that circulate it - determines what counts as truth.
650		0	_aPhotography _xPhilosophy _9762108
650		0	_aPhotography _xHistory. _9372246
907			_a.b3084003x _b27-07-21 _c27-07-21
942			_cB
945			_a779 TAG _g0 _iA432848B _j0 _lcmain _mRe-instated on 27/7/2021. Patron demand. _o- _p$0.00 _q- _r- _s- _t0 _u1 _v0 _w1 _x0 _y.i13676374 _z27-07-21
998			_ab _ac _b06-08-20 _cm _da _feng _gmnu _h4
999			_c1641552 _d1641552