CCF20111211022

Edwards, E. (1999). Photographs as Objects of Memory. W: Materiał ries, red. M. Kwint, Ch. Breward i J. Aymsley. Berg, Oksford, 221-

Frosh, P. (2003). The Image Factory: Consumer Culture, Photography, and Visual Content Industry. Berg, Oksford.

Garlick, s. (2002). Revealing the Unseen: Tourism, Art, and Photography, J tural Studies” no. 2 (16), 289-305.

Wadę G., M. i K. (2005).Actually, a Picture Is WorthLess Than 45 Words: ratives Produce Morę False Memories Than Photographs Do, „Psychon Bulletin and Review” no. 2 (12), 359-66.

Garry, M. i Gerrie, M. (2005). When Photographs Create False Memories,, rent Dircctions in Psychological Science” no. 14, 321.

Hafner, K. Recording Another Day in America, Aided by Digital Cam, http://www.nytimes.com/., 12.05.2003.

Harrison, B. (200). Photographic Yisions andNarratiw Imjuiry. „Narratweli-quiry”no. 1 (12), 87-111.

Hersh, s. Torturę at Abu Ghraib: American Soldiers BrutalizedIraqis. How Fw Up Does the Responsibility Go?, http://www.newyorkcr.com/., 4.05.20C_

Hirsch, M. (2002). Family Frames: Photography, Narrative, and Postmemert-mit Press, Cambridge.

Holland, P. (1991). Introduction: History, Memory, and the Family Album. Family Snaps: The Meaning ofDomestic Photography, red. J. Spence i P. Hce-j land. Virago, Londyn, 1-14.

Intraub, H. i Hoffman, J. (1992). Reading and Yisual Memory: Remembering Sceits that Were Never Seen. „American Journal ofPsychology” no. 1 (105), 101-14.]

Kindberg, T., Spasojevic, M., Fleck, R. i Scllen, A. I Saw This and Thouger. ofYou: Some Social Uses of Camera Phones. W: Conference on Humań Fae-tors in Computing Systems, acm, Nowyjork, 1545-48.

Lehtonen, T.-K., Koskinen, 1. i Kurvinen, E. (2002). Mobile Digital Picture:-The Futurę of the Postcard? Findings from an Experimental Field Study. W: Postcards and Cultural Rituals, red. V. Laakso i J.O. Ostman. I iaemeen-linna, Korttien Talo, 69-96.

Liechti, O. i Ichikawa, T. (2000). A Digital Photography Framework Enablir.y

AJfective Awareness in Home Communication. „Personal and Ubiąuitous Computing” no. 1 (4), 6-24.

Lindsay, S., Hagen, L., Read, D., Wadę, K. i Garry, M. (2004). TruePhotc-graphs and False Memories. „Psychological Science” no. 3 (15), 149.

Lister, M., ed. (1995). The Photographic Image in Digital Culture. Routledgc, Nowyjork.

Loftus, E. i Pickrell, J. (1995). The Formation of False Memories, „Psychiatrie Annals” no. 25, 720-25.

Loftus, E. (1993). The Reality ofRepressedMemories, „American Psycholo-gist” no. 48, 518-37.

Manovich, L. (2005). The Paradoxes of Digital Photography. http://www.ma-novich.net/TEXT/digital_photo.html.

Manovich, L. (2006). Język nowych mediów. WAiP, Warszawa.

McCarthy, A. (2002). Cyberculture or Materiał Culture?, „Etnofoor” no. 1 (i5)> 47^_63-

Mitchell, W.J.T. (1992). The Reconfigured Eye: Yisual Truth in the Post-photo-graphic Era. mit Press, Cambridge.

Mules, W. (2000). Lines, Dots and Pixels: The Making and Remaking of the Printed Image in Yisual Culture, „Continuum: Journal of Media and Cultural Studies” no. 3 (14), 303-16.