<?xml version="1.0" encoding="utf-8"?>
<export-example>
  <doc>
    <id>3399</id>
    <completedYear/>
    <publishedYear>2018</publishedYear>
    <thesisYearAccepted/>
    <language>eng</language>
    <pageFirst>149</pageFirst>
    <pageLast>167</pageLast>
    <pageNumber/>
    <edition/>
    <issue>2-3</issue>
    <volume>11</volume>
    <type>article</type>
    <publisherName>Routledge, Taylor &amp; Francis</publisherName>
    <publisherPlace>London</publisherPlace>
    <creatingCorporation/>
    <contributingCorporation/>
    <belongsToBibliography>1</belongsToBibliography>
    <completedDate>--</completedDate>
    <publishedDate>--</publishedDate>
    <thesisDateAccepted>--</thesisDateAccepted>
    <title language="eng">Photography in the Digital</title>
    <abstract language="eng">Photography in the digitally created or digitized reality is an everyday activity that is rarely discussed in the context of photographic debates. This refers to practices such as in-game photography or, simpler yet, the screenshot. The paper focuses on their history, the specific status and materiality of these images of screens. Their (hi)story begins with screen image photography of measured data on cathode ray tubes and the photographic capture of x-ray screens. Screenshots and in-game photography can be seen throughout this context but they are cameraless and can therefore be understood and discussed within a long history of experimental photographic practices. Should we speak here at all of photography? If so, what is their photographic specificity? Which image of reality do they provide us?</abstract>
    <parentTitle language="eng">Photographies</parentTitle>
    <subTitle language="eng">Screenshot and in-game photography</subTitle>
    <identifier type="issn">1754-0763</identifier>
    <identifier type="issn">1754-0771</identifier>
    <identifier type="doi">10.1080/17540763.2018.1445013</identifier>
    <enrichment key="opus.import.date">2024-03-14T14:01:46+00:00</enrichment>
    <enrichment key="opus.source">sword</enrichment>
    <enrichment key="opus.import.user">hisres</enrichment>
    <enrichment key="opus.doi.autoCreate">false</enrichment>
    <enrichment key="opus.urn.autoCreate">false</enrichment>
    <licence>Creative Commons - CC BY - Namensnennung 4.0 International</licence>
    <author>Winfried Gerling</author>
    <subject>
      <language>deu</language>
      <type>swd</type>
      <value>Screenshot</value>
    </subject>
    <subject>
      <language>deu</language>
      <type>swd</type>
      <value>Medienwissenschaft</value>
    </subject>
    <subject>
      <language>deu</language>
      <type>swd</type>
      <value>Bildschirm</value>
    </subject>
    <collection role="ddc" number="770">Fotografie, Computerkunst</collection>
    <collection role="institutes" number="">FB4 Design</collection>
    <collection role="institutes" number="">Europäische Medienwissenschaft</collection>
    <collection role="Import" number="import">Import</collection>
    <thesisPublisher>Fachhochschule Potsdam</thesisPublisher>
  </doc>
</export-example>
