Most of the books on the topic examine either literature that is about photography (i.e.
I had the desire to go beyond the somewhat rigid academic approach that characterises the fields of studies on the relationship between photography and literature, where the two arts are usually obliged to reciprocal engagement. I got fascinated with the way in which the two arts can interact and I started my academic research on photography, fictions and texts. Calvino and Cortázar played a major influence. I developed my interest in photography through literature. Tell us how you work with image and text?įederica Chiocchetti My background is in comparative literature, particularly twentieth-century Latin American and Italian authors. In the latest issue we are looking at the image as text: the image as readable sign. These issues look at the current state of the (photographic) image, as it seems to expand into two distinct yet related manifestations: the image as text/sign versus the image as operation. Nina Strand We have the same title for our issues in 2016: The Flexible Image. To reflect on our editorial theme of the relationship between the written word and the image, we asked the same questions to various people in the field: What makes a great image-text project? How can we bridge the space between ‘the silence of the image and the blindness of language’? Can we reshape our understanding of what a photograph is? Do you have faith in the written word? And finally, what comes after the pictorial turn?
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