本篇代写论文-摄影讲了摄影不能被认为具有单一的文化地位或静态的身份。摄影是一个动态的、分散的图像、实践和技术领域。在摄影这个领域中，普遍性的一致性是可以区分的——不同于选择使用它的话语或机构(Allen, 2003)。因此，摄影的历史语境是同一话语、同一制度的多元的、集体的历史。本篇代写论文文章由美国第一论文 Assignment First辅导网整理，供大家参考阅读。
Photography cannot be considered to have a singular cultural status or static identity. There is better regarding of photography as a dynamic and dispersed field of images, practices and technologies. The compliance of ubiquity over this field of photography is that it can be in- distinguished from the discourses or institution choosing its utilization (Allen, 2003). Therefore, the historical context of photography is the multifarious and collective history of the same discourses and institutions. As a significant example, the history involved in police photography cannot be distinguished and separated from the institutions and practices of the justice system and criminology. Hence, it can be stated that photography does not appear to be having any unified or coherent history on its own apart from being documented in terms of several effects and uses. The meanings depicted by individual photograph have complete contingence, with key dependence upon the contexts within which photograph has been formed.
A photograph can have one meaning in a specific context and something completely different in the other. Thereby, the identity related to any photograph cannot be equated with specific inherent qualities of photography. Instead, it is about what is being done by the photograph across the globe. The key aspect is that there can never be existence of photographs beyond the functions or discourses of one another (Becker, 2015). There is also no neutral base in which the photograph is provided with the ability of speaking for itself, where there is emitting of some underlying and essential true meaning.
Analysis in the Light of Tag’s Argument
The entire argument of Tag is set on the basis of the presumption that photographs will never be having any one true meaning. Even though Tagg criticizes the totalized rigidity of political control, according to him, photography tends to be retaining majority of the basic outline. For Tagg, the values and meaning of any photograph is determined completely by its relation with the others, more social and powerful practices (Tagg, 2003). As an apparatus to represent visually, before anything else, photography is a tool to transport ideology from a specific site to the other. More or less the same as the state, there is never a neutral nature of camera.