著者

浜野 志保

出版者

英米文化学会

雑誌

英米文化 (ISSN:09173536)

巻号頁・発行日

vol.35, pp.55-73, 2005

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The history of spirit photography began when the movement of Spiritualism saw a shift in its focus from raps to materialization, from sound to vision. There were some noted spirit phographers. The most famous and first successful is William Mumler of Boston. Frederick Hudson, Samuel and Mrs. Guppy are said to have been the pioneers in England. Eugene Buguet took more artistic spirit photographs than those predecessors, some of which summoned celebrities' ghosts. After some years of stagnation, William Hope and his Crewe Circle revived this type of photography, and, beside the spiritualists like Arthur Conan Doyle, experts in conjuring like Harry Price and Harry Houdini got involved in the disputes about their authenticity. It is true that spirit photography was an inevitable by-product of Spiritualism more and more spectacularized in the postbellum period. But, taking a look at the early history of photography, we find two other contexts which gave rise to it. First, there were some attempts to overcome the limitations of photography as a visual medium, and spirit photography was one as it tried to catch the invisible. Second, spirit photography was a new kind of portrait photography that could represent their subjects' individualities, when photographic typology was being established through the spread of commercial photography.

著者

浜野 志保

出版者

千葉工業大学

雑誌

若手研究(B)

巻号頁・発行日

2010

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本研究は、十九世紀後半から二十世紀初頭にかけて大量に撮影されたパラノーマル写真(心霊写真、念写など)の事例研究である。パラノーマル写真に関する一次資料をイギリスおよびドイツでの調査によって収集した後、視覚文化史および疑似科学史と照らし合わせ、網羅的かつ体系的なパラノーマル写真の発展史の構築を試みた。以上の成果については、『パラノーマル写真史(仮題)』として25年度内に青弓社より刊行予定である。

著者

浜野志保著

出版者

青弓社

巻号頁・発行日

2015

著者

浜野 志保

出版者

千葉工業大学

雑誌

千葉工業大学研究報告 人文編 (ISSN:03885240)

巻号頁・発行日

no.47, pp.23-30, 2010