Beyond the Familial Impulse: Domestic Photography and Sociocultural History in Post-Communist Poland, 1989–1996. (4th May 2017)

• Record Type: Journal Article
• Authors: Pasternak, Gil; Ziętkiewicz, Marta
• Is Part Of: Photography & culture. Volume 10:Number 2(2017:Jul.)
• Page Start: 121
• Page End: 145
• Publication Date: 2017-05-04
• Subjects: domestic photography -- Polish Jews -- Poland's ethnic minorities -- Polish collective memory -- photography contest; Photography -- Periodicals; Photography, Artistic -- Periodicals; 770.9
• DOI: 10.1080/17514517.2017.1321291
• Languages: English
• ISSNs: 1751-4525

Abstract

Abstract: In 1994 the Jewish-Polish Shalom Foundation announced a photographic contest, the intention of which was to reconstruct the social and cultural histories of Polish Jews who lived in the geographical region of Poland before, during and after the Second World War. For this purpose the Foundation invited contributions from the public. Its initiative emerged shortly after the 1989 collapse of the communist regime in Poland, and alongside other similar projects that reflected the desire of Poland's ethnic minorities to salvage their sociocultural histories – histories the communist government had erased from the country's formal historiography. In a short period of time the Foundation received more than 7000 annotated photographs in response to its public appeal, most of which emanated from domestic photographic collections. As scholars interrogating domestic photography do not often have access to empirical data about the practices it entails, in this article we consider the Foundation photographic collection as a resource preserving invaluable information about the diverse uses and perceptions of photography in the sociocultural sphere. Yet, whereas existing scholarly literature in the field of photography studies tends to frame domestic photography with reference to affectionate familial behaviors allegedly common in democratic states, we introduce the Foundation collection as a case study that sheds light on domestic photographs created and maintained in a sociocultural environment that did not see democracy before 1989. Analyzing and discussing the various ways in which the photographs' owners saw the photographs' relationships with the broader politically unstable reality that has enclosed their production and preservation, our study diversifies some of the meanings and functions current literature often associates with domestic photographic collections.