In the process it draws upon traditions of analyzing cultural industries in media studies, the political economy of communication and the sociology of culture to rethink photography’s long-term trajectories as a modern cultural endeavor. Moving across public and private photographic contexts, and popular and elite genres, it elaborates photography’s relation to four core problematics: the historical phases of industrial cultural production cultural labor and economic and cultural capital the tension between standardization and innovation and dominant production logics of digital culture. However, despite the increase in historical studies of the medium’s industrial-commercial dimensions, and a smaller number of contemporary sociological and cultural investigations, no attempt has been made to produce an overall account of photography as a cultural industry. Photography scholars have long acknowledged that photography is the progeny of industrial society. Although such scholarship includes studies of distinctive areas of organized photographic practice in the twentieth century, including news photography and photojournalism (Craig 1999 Hall 1972 Ilan 2014 Schwartz 1999), commissioned advertising photography and stock photography (Hiley 1983 Miller 1999 Ramamurthy 2015 Squiers 1989 Wilkinson 1997), it is fair to say that there is a marked bias in favour of the 'long' nineteenth century, organized around a periodization scheme principally based on shifts between successive technological innovations: daguerreotypes (typically portraits), carte de visite, collodion wet-plate portraits, gelatin dry-plates, and especially the introduction of flexible film by Eastman and the establishment of a mass market for photography as a medium of production as well as consumption (Muir and Phillips 2005 Pasternak 2015, Slater 1983 West 2000). It also underpins much of the (relatively scant) research on the particular industrial-commercial contexts for photography in diverse historical periods. 30-in M1918A2 Browning Automatic Rifle and Garand rifles. Churchill close-support tanks (Mk V or VII) drive past a road sign that reads "Münster 6 km." A small group of British and US infantry move cautiously through the streets of Münster armed with Colt M1911A1. Stock shots briefly show the effects of the Luftwaffe bombing offensive on London, Warsaw and Coventry. Captured German film shows the Luftwaffe air offensive on targets in Poland (Warsaw- Junkers Ju 87B, Heinkel He 111B and Henschel Hs 126). German prisoners of war march past damaged houses with their hands on their heads. 30-inch Garand self-loading rifles march through the streets of Münster. US infantry (328th Infantry Division ?) carrying M1. Buildings burn in Münster as British M4 Sherman and Churchill tanks fight their way through the streets. Extended footage shows loading and firing sequences. A US ordnance team sets up a captured German large-calibre field rocket launching system (30cm schweres Wurfgerät 41 ?). British Churchill Mk VI tanks drive past US Ninth Army infantry at an unidentified German hamlet. German prisoners are searched by British tank crewmen as Churchill Mk II and VI tanks drive past.
United States (US) Ninth Army M36 tank destroyers drive past a prone British Second Army Bren-gunner during the Allied armoured drive on Westphalia. 'WESTERN FRONT.' British Churchill tanks drive under a bridge.
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