Introduction

Abstract

The essays in this book are contributions towards photography theory. I say ‘towards’ rather than ‘to’ as the theory does not yet exist; nevertheless, as these essays indicate, some of its components may already be identified. The articles collected here are diverse in approach, the present state of underdevelopment of photography theory precludes a more homogeneous collection, but they share in common the project of developing a materialist analysis of photography — one which does not rely on that mixture of the biographical and the ineffable with which so many writers on photography defend their most fiercely held opinions. In introducing the essays I shall discuss three related topics. First, the idea of ‘photography theory’ as distinct from the more familiar ‘criticism’. Second, a contemporary debate in cultural studies against the background of which the articles will, today, be ‘positioned’. Finally, that other intellectual bearing relevant here — the relation of the essays to a history of theories of art since the inception of photography. Obviously, a consideration of any one of these topics could itself fill a book, and I apologise in advance for the necessarily cursory way I must summarise them within the confines of this introduction.