Gail Baylis
Biographic Data
| ID | 640287 |
|---|---|
| NAME | Gail Baylis |
| GIVEN NAMES | Gail |
| FAMILY NAME | Baylis |
| SIGNATURE | BAYLIS G |
| AFFILIATIONS | University of Ulster |
| VERIFIED | No |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 6 |
| AUTHOR COUNT | 9 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2008 |
| LATEST PUBLICATION YEAR | 2018 |
| H-INDEX | 2 |
The photographic portrait: A means to surveillance and subversion
The surveillance model, most notably expounded by John Tagg, has long held orthodoxy in photographic theory. In this reading, the lowering of the gaze of the camera, far from being inclusive, acts when a tool of state, to be a means for exclusion. In essence, what we recognise as the mugshot is a highly coded form of portraiture. I argue that a general knowingness about the conventions of photographic portraiture in the nineteenth and early twent…
Con Colbert’s Portrait: The Lives of a Photograph
The history of photography has generally been conceived of in terms of technical advances, aesthetics, genre or oeuvre. This article proposes that other histories become apparent when materiality is foregrounded. To support this proposition the study focuses primarily on one portrait photograph and its embedded history, which is evident in its shifts in material form. The photograph under consideration is of Cornelius, more familiarly known as Co…
Boy Culture and Ireland 1916
This study offers an analysis of the significance of boyhood as a site of investment for masculinity in the context of Irish separatist nationalism from1900 to the Easter Rising of 1916. Both imperialism and anti-imperialism were linked by an ethos of militarism, as evidenced by commonalities in the apparently antithetical Fianna Eireann (the Irish nationalist boy scouts) and their equivalent the Baden-Powell Boy Scouts. What both organisations s…
Gender in the frame: Photography and the performance of the nation narrative in early twentieth-century Ireland
This article considers the role of visualising in the formation of the nation narrative. It foregrounds the significance of gender performance in early twentieth-century Irish cultural nationalism. Prior to the consolidation of a hegemonic narrative of state, spaces existed for the exploration of a range of possible projections of identity. This study focuses on one of those possibilities, namely a series of costume photographs where gender is li…
A Few Too Many Photographs? Indexing Digital Histories
This essay is both a study of Irish photography and an inquiry into how we narrate the past. It begins from the premise that the photograph is always caught between history and memory. In this relationship, the archive has come to assume major significance both as a material space and as an electronic site of supposedly no space. The case study offered is based on the Larcom Albums of 1857 and 1866, which contain the earliest prison photography i…
Exchanging looks: Gap girls and colleens in early Irish tourist photography
The gap girl of Killarney is the most popular representation of the Irish figure of colleen during the nineteenth century. Colleen attributes come to be affixed to the gap girl due to the 'iconology' that, as David Brett observes, Killarney acquired in Irish Romanticism and because of the currency of her representation in a cluster of popular forms by the 1860s. This inquiry focuses on the significance of the photographic representation of the ga…
The Great Famine: Absence, memory and photography
The primary question this study seeks to answer is a simple one: namely, why do we remember the Irish Famine of the 1840s through photographic recall when no photographs of the Famine exist? In order to address this question consideration is firstly given to the visual culture in which Famine iconography established itself; that is, as graphic illustrations. The authors then investigate the effects of later eviction photographs (from the 1880s an…
Metropolitan Surveillance and Rural Opacity: Secret Photography in Nineteenth‐Century Ireland
This essay considers the significance of the Foucaultian notion of surveillance in accounts of the history of photography, raising the question whether Ireland's colonial placement during the nineteenth century led to a different history of the medium. The study focuses on Irish Special Branch's adoption of secret photography during the latter part of the nineteenth century in order to determine why this type of photography was considered useful.…
Remediations: Or, when is a boring photograph not a boring photograph
This study assesses predictions about the effects of digital technologies in relation to the underlying premises on which such arguments are asserted. It does so by revisiting similar debates that circulated when photography first emerged as a popular medium. In considering why autographic photographs form such a significant basis for photography's initial development, this study signposts the importance of remediation for any understanding of ph…
A Few Too Many Photographs? Indexing Digital Histories
This essay is both a study of Irish photography and an inquiry into how we narrate the past. It begins from the premise that the photograph is always caught between history and memory. In this relationship, the archive has come to assume major significance both as a material space and as an electronic site of supposedly no space. The case study offered is based on the Larcom Albums of 1857 and 1866, which contain the earliest prison photography i…
Exchanging looks: Gap girls and colleens in early Irish tourist photography
The gap girl of Killarney is the most popular representation of the Irish figure of colleen during the nineteenth century. Colleen attributes come to be affixed to the gap girl due to the 'iconology' that, as David Brett observes, Killarney acquired in Irish Romanticism and because of the currency of her representation in a cluster of popular forms by the 1860s. This inquiry focuses on the significance of the photographic representation of the ga…
Gender in the frame: Photography and the performance of the nation narrative in early twentieth-century Ireland
This article considers the role of visualising in the formation of the nation narrative. It foregrounds the significance of gender performance in early twentieth-century Irish cultural nationalism. Prior to the consolidation of a hegemonic narrative of state, spaces existed for the exploration of a range of possible projections of identity. This study focuses on one of those possibilities, namely a series of costume photographs where gender is li…
Remediations: Or, when is a boring photograph not a boring photograph
This study assesses predictions about the effects of digital technologies in relation to the underlying premises on which such arguments are asserted. It does so by revisiting similar debates that circulated when photography first emerged as a popular medium. In considering why autographic photographs form such a significant basis for photography's initial development, this study signposts the importance of remediation for any understanding of ph…
Remediations: Or, when is a boring photograph not a boring photograph
This study assesses predictions about the effects of digital technologies in relation to the underlying premises on which such arguments are asserted. It does so by revisiting similar debates that circulated when photography first emerged as a popular medium. In considering why autographic photographs form such a significant basis for photography's initial development, this study signposts the importance of remediation for any understanding of ph…
Metropolitan Surveillance and Rural Opacity: Secret Photography in Nineteenth‐Century Ireland
This essay considers the significance of the Foucaultian notion of surveillance in accounts of the history of photography, raising the question whether Ireland's colonial placement during the nineteenth century led to a different history of the medium. The study focuses on Irish Special Branch's adoption of secret photography during the latter part of the nineteenth century in order to determine why this type of photography was considered useful.…
The Great Famine: Absence, memory and photography
The primary question this study seeks to answer is a simple one: namely, why do we remember the Irish Famine of the 1840s through photographic recall when no photographs of the Famine exist? In order to address this question consideration is firstly given to the visual culture in which Famine iconography established itself; that is, as graphic illustrations. The authors then investigate the effects of later eviction photographs (from the 1880s an…
Exchanging looks: Gap girls and colleens in early Irish tourist photography
The gap girl of Killarney is the most popular representation of the Irish figure of colleen during the nineteenth century. Colleen attributes come to be affixed to the gap girl due to the 'iconology' that, as David Brett observes, Killarney acquired in Irish Romanticism and because of the currency of her representation in a cluster of popular forms by the 1860s. This inquiry focuses on the significance of the photographic representation of the ga…
Gender in the frame: Photography and the performance of the nation narrative in early twentieth-century Ireland
This article considers the role of visualising in the formation of the nation narrative. It foregrounds the significance of gender performance in early twentieth-century Irish cultural nationalism. Prior to the consolidation of a hegemonic narrative of state, spaces existed for the exploration of a range of possible projections of identity. This study focuses on one of those possibilities, namely a series of costume photographs where gender is li…
A Few Too Many Photographs? Indexing Digital Histories
This essay is both a study of Irish photography and an inquiry into how we narrate the past. It begins from the premise that the photograph is always caught between history and memory. In this relationship, the archive has come to assume major significance both as a material space and as an electronic site of supposedly no space. The case study offered is based on the Larcom Albums of 1857 and 1866, which contain the earliest prison photography i…
Boy Culture and Ireland 1916
This study offers an analysis of the significance of boyhood as a site of investment for masculinity in the context of Irish separatist nationalism from1900 to the Easter Rising of 1916. Both imperialism and anti-imperialism were linked by an ethos of militarism, as evidenced by commonalities in the apparently antithetical Fianna Eireann (the Irish nationalist boy scouts) and their equivalent the Baden-Powell Boy Scouts. What both organisations s…
Con Colbert’s Portrait: The Lives of a Photograph
The history of photography has generally been conceived of in terms of technical advances, aesthetics, genre or oeuvre. This article proposes that other histories become apparent when materiality is foregrounded. To support this proposition the study focuses primarily on one portrait photograph and its embedded history, which is evident in its shifts in material form. The photograph under consideration is of Cornelius, more familiarly known as Co…
The photographic portrait: A means to surveillance and subversion
The surveillance model, most notably expounded by John Tagg, has long held orthodoxy in photographic theory. In this reading, the lowering of the gaze of the camera, far from being inclusive, acts when a tool of state, to be a means for exclusion. In essence, what we recognise as the mugshot is a highly coded form of portraiture. I argue that a general knowingness about the conventions of photographic portraiture in the nineteenth and early twent…
Photography and Visual Culture (8 works) · Art (7 works) · Aesthetics (6 works) · History (5 works) · Law (5 works) · Political science (5 works) · Sociology (5 works) · Visual arts (5 works) · Philosophy (4 works) · Photography (4 works)