A People War: Workshop - Programs – Slought. (n.d.). https://slought.org/resources/a_people_war_workshops
Alper, M. (2014). War on Instagram: Framing conflict photojournalism with mobile photography apps. New Media & Society, 16(8), 1233–1248. https://doi.org/10.1177/1461444813504265
Ann Parker. (1982). Los ambulantes: the itinerant photographers of Guatemala. MIT Press.
Appadurai, A. (1997). The colonial backdrops. Afterimage, 24, 4–7. http://search.ebscohost.com/login.aspx?direct=true&AuthType=ip,shib&db=asu&AN=505841839&site=ehost-live&scope=site
Ariella Azoulay. (2008). The civil contract of photography. In The civil contract of photography (pp. 85–135). Zone. https://contentstore.cla.co.uk/secure/link?id=7e357a66-80fb-e711-80cd-005056af4099
Barthes, Roland & Howard, Richard. (1993). Camera lucida: reflections on photography: Vol. Vintage classics. Vintage.
Benzaquen, S. (2014). Looking at the Tuol Sleng Museum of Genocidal Crimes, Cambodia, on Flickr and YouTube. Media, Culture & Society, 36(6), 790–809. https://doi.org/10.1177/0163443714532983
Bourdieu, Pierre. (1990). Photography: a middle-brow art. Stanford University Press.
boyd, danah m., & Ellison, N. B. (2007). Social Network Sites: Definition, History, and Scholarship. Journal of Computer-Mediated Communication, 13(1), 210–230. https://doi.org/10.1111/j.1083-6101.2007.00393.x
Buckley, L. (2000). Self and Accessory in Gambian Studio Photography. Visual Anthropology Review, 16(2), 71–91. https://doi.org/10.1525/var.2000.16.2.71
Buckley, L. (2006). Studio Photography and the Aesthetics of Citizenship in The Gambia’. In Sensible objects: colonialism, museums and material culture: Vol. Wenner-Gren international symposium series (English ed, pp. 61–85). Berg.
Chitrakar, G. (n.d.). People Power. https://www.amazon.com/s/ref=dp_byline_sr_book_1?ie=UTF8&text=Gopal+Chitrakar&search-alias=books&field-author=Gopal+Chitrakar&sort=relevancerank
Christopher Pinney. (1997). Chambers of Dreams. In Camera Indica: the social life of Indian photographs: Vol. Envisioning Asia (pp. 108–209). Reaktion Books.
Christopher Pinney. (2016). Bruises and Blushes. In E. Balsom & H. Peleg (Eds.), Documentary across disciplines (pp. 20–39). The MIT Press.
Clare Harris. (2001). The Politics and Personhood of Tibetan Buddhist Icons. In Beyond aesthetics: art and the technologies of enchantment (pp. 181–199). Berg.
Colby, Jason M. (n.d.). A Camera in the Garden of Eden: The Self-Forging of a Banana Republic. Agricultural History, 91, 97–99. https://search.proquest.com/docview/1876741849?rfr_id=info%3Axri%2Fsid%3Aprimo
Daniel Miller et al. (2016a). Academic studies of social media. In How the World Changed Social Media (pp. 9–24). UCL Press. https://doi.org/10.2307/j.ctt1g69z35
Daniel Miller et al. (2016b). What is social media? In How the World Changed Social Media (pp. 1–8). UCL Press. https://doi.org/10.2307/j.ctt1g69z35
Dennison, Nash. (1989). Tourism as a Form of Imperialism. In V. L. Smith (Ed.), Hosts and guests: the anthropology of tourism (Second edition, pp. 37–52). University of Pennsylvania Press. https://www.jstor.org/stable/j.ctt3fhc8w.6
Diana Taylor. (2002). ‘You Are Here’: the DNA of Performance. TDR (1988-), 46(1), 149–169. https://www.jstor.org/stable/1146951
Dixit, K. (2007). A People War: Images of the Nepal Conflict 1996-2006.
Dixit, K. (2009a). Never Again: Testimonies from the Nepal Conflict, 1996-2006. Nepa-laya.
Dixit, K. (2009b). People After War: Nepalis live with the legacy of conflict. Napa-laya.
Doyle, Kate. (n.d.). The atrocity files. Harper’s Magazine, 315(5), 52–64. https://search.proquest.com/docview/233467130/fulltext/660BE2339E334467PQ/19?accountid=14511
Driessens, J.-A., & Aird, M. (2003). Photography’s Other Histories (C. Pinney, N. Peterson, & N. Thomas, Eds.). Duke University Press. https://doi.org/10.1215/9780822384717
É  Nimis. (1999). The Golden Age of Black-and-White in Mali. In Anthology of African and Indian Ocean photography (English ed). Revue Noire.
Edwards, E. (1998). Performing science: still photography and the Torres Strait expedition. In Cambridge and the Torres Strait: centenary essays on the 1898 Anthropological Expedition (pp. 106–135). Cambridge University Press.
Edwards, E. (2005). Photographs and the Sound of History. Visual Anthropology Review, 21(1–2), 27–46. https://doi.org/10.1525/var.2005.21.1-2.27
Ekins, J. (2005). Critical Response: What Do We Want Photography to Be? A Response to Michael Fried. Critical Inquiry, 31(4), 938–956. https://doi.org/10.1086/444520
Elizabeth Edwards. (1996). Postcards: Greetings from Another World. In The tourist image: myths and myth making in tourism (pp. 197–222). John Wiley. https://contentstore.cla.co.uk/secure/link?id=35619b7c-c514-e911-80cd-005056af4099
Érika Nimis. (2013). Yoruba Studio Photographers in Francophone West Africa [Electronic resource]. In Portraiture and photography in Africa (pp. 102–140). Indiana University Press. https://www.jstor.org/stable/j.ctt16gznd8.8
Fabian, J. (2002). Time and the other: how anthropology makes its object. Columbia University Press.
Falconer, J., Hide, L., & British Library. (2009). Points of view: capturing the 19th century in photographs. British Library.
Gbadegesin, O. A. (2014). ‘Photographer Unknown’: Neils Walwin Holm and the (Ir)retrievable Lives of African Photographers. History of Photography, 38(1), 21–39. https://doi.org/10.1080/03087298.2013.840073
Georges Didi-Huberman. (2008). Four Pieces of Film Snatched from Hell. In Images in spite of all: four photographs from Auschwitz (pp. 3–17). University of Chicago Press.
Greg Grandin. (2004). Can the Subaltern Be Seen? Photography and the Affects of Nationalism. Hispanic American Historical Review, 84(1), 83–111. https://muse.jhu.edu/article/51978
Instagram and contemporary image. (2017). http://manovich.net/index.php/projects/instagram-and-contemporary-image
John Tagg. (1993). Introduction. In The burden of representation: essays on photographies and histories (pp. 1–15). University of Minnesota Press. https://contentstore.cla.co.uk/secure/link?id=188d938e-2014-e911-80cd-005056af4099
Juanita Solano. (2018). The Other’s Other: Portrait Photography in Latin America 1890-1930. In Beyond the face : new perspectives in portraiture. National Portrait Gallery, Smithsonian Institution.
Kalantzis, K. (2014). On ambivalent nativism: Hegemony, photography, and "recalcitrant alterity” in Sphakia, Crete. American Ethnologist, 41(1), 56–75. https://doi.org/10.1111/amet.12060
Karen Strassler. (2010). Landscapes of the Imagination. In Refracted visions: popular photography and national modernity in Java: Vol. Objects/histories (pp. 75–122). Duke University Press. https://doi.org/10.1215/9780822391548-003
Kockelman, P. (2007). Agency. Current Anthropology, 48(3), 375–401. https://doi.org/10.1086/512998
Konstantinos Kalantzis. (2015). Shepherds as ‘Images, Shepherds with Images: Photographic Re-engagements in Sfakia, Crete’. In P. Carabott, Y. Hamilakis, & E. Papargyriou (Eds.), Camera graeca: photographs, narratives, materialities (pp. 313–335). Ashgate. https://contentstore.cla.co.uk/secure/link?id=34f1cf17-d41f-e911-80cd-005056af4099
Kratz, C. A. (2002). The Ones That Are Wanted: Communication and the Politics of Representation in a Photographic Exhibition [Electronic resource]. University of California Press. https://ebookcentral.proquest.com/lib/ucl/reader.action?docID=224081&ppg=1
L. Firstenberg. (n.d.). Postcoloniality, performance and photographic portraiture. In The short century: independence and liberation movements in Africa, 1945-1994. Prestel.
Lemagny, J.-C., & Rouillé, A. (1987). A history of photography: social and cultural perspectives. Cambridge University Press.
Lenman, R. (2005a). The Oxford companion to the photograph. Oxford University Press.
Lenman, R. (2005b). The Oxford Companion to the Photograph (A. Nicholson, Ed.). Oxford University Press. https://doi.org/10.1093/acref/9780198662716.001.0001
Lutz, C., & Collins, J. (1991). The Photograph as an Intersection of Gazes: The Example of National Geographic. Visual Anthropology Review, 7(1), 134–149. https://doi.org/10.1525/var.1991.7.1.134
MacDougall, D. (1992). Photo hierarchicus: Signs and mirrors in indian photography. Visual Anthropology, 5(2), 103–129. https://doi.org/10.1080/08949468.1992.9966581
Marien, M. W. (2010). Photography: a cultural history (3rd ed). Laurence King.
Marshall Sahlins. (1993). Goodbye to Tristes Tropes: Ethnography in the Context of Modern World History. The Journal of Modern History, 65(1), 1–25. https://www.jstor.org/stable/2124813
McKay, D. (2010). On the Face of Facebook: Historical Images and Personhood in Filipino Social Networking. History and Anthropology, 21(4), 479–498. https://doi.org/10.1080/02757206.2010.522311
Michael Hutt et al. (n.d.). Political Change and Public Culture in Post-1990 Nepal. https://doi.org/10.1017/9781316771389
Mookherjee, N. (2015). The raped woman as a horrific sublime and the Bangladesh war of 1971. Journal of Material Culture, 20(4), 379–395. https://doi.org/10.1177/1359183515603742
National Geographic. (n.d.). 233(4, Supplement). https://search.proquest.com/publicationissue/CC248A3F529741DCPQ/$B/1/National+Geographic$3b+Washington/02018Y04Y01$23Apr+2018$3b++Vol.+233+$284$29,+Supp.+SPECIAL+ISSUE/$N?accountid=14511
Nura Mustafa, H. (2002). Portraits of Modernity: Fashioning Selves in Dakarois Popular photography. In Images and empires: visuality in colonial and postcolonial Africa (pp. 172–192). University of California Press.
O. Enwezor & O. Zaya. (1996). Colonial imaginary, tropes of disruption: history, culture, and representation in the works of African photographers. In In/sight: African photographers, 1940 to the present (pp. 17–47). Guggenheim Museum.
O’Rourke, D., & Litchfield, T. (2000). Cannibal tours. CameraWork.
Peter Stuart  Landau. (2002). Introduction. In Images and empires: visuality in colonial and postcolonial Africa (pp. 1–38). University of California Press.
Pierre Bourdieu, Marie-Claire Bourdieu, Loïc Wacquant and Richard Nice. (2004). The peasant and photography. Ethnography, 5(4), 600–616. https://www.jstor.org/stable/24047856
Poole, D. (1997). Vision, race, and modernity: a visual economy of the Andean image world. Princeton University Press.
Pratyoush Onta. (n.d.). A Suggestive History of the First Century of Photographic Consumption in Kathmandu. STUDIES IN NEPALI HISTORY AND SOCIETY, 3(1). http://www.martinchautari.org.np/index.php/announcements/717-reading-list-seminar-on-visual-anthropology
Roland Barthes. (1972). The Great Family of Man. In Mythologies (pp. 100–102). Cape. https://contentstore.cla.co.uk/secure/link?id=d6563704-671d-e911-80cd-005056af4099
Said, E. W. (2003). Orientalism. the Penguin Group.
Sanjana Hattotuwa. (2010). Expanding the art of possible: Leveraging citizen journalism and user generated content  (USG) for peace in Sri Lanka [Electronic resource]. In S. Banaji (Ed.), South Asian Media Cultures: Audiences, Representations, Contexts (pp. 235–254). Anthem Press.
Sasanka Perera. (2016). The Jaffna Photo Album: Sinhala Warzone Tourism in the Time of a Ceasefire. In Warzone tourism in Sri Lanka : tales from darker places in paradise (pp. 12–67). SAGE.
Seoighe, R. (2016). Nationalistic Authorship and Resistance in Northeastern Sri Lanka. Society and Culture in South Asia, 2(1), 1–30. https://doi.org/10.1177/2393861715608971
Seppänen, J. (2017). Unruly Representation: Materiality, indexicality and agency of the photographic trace. Photographies, 10(1), 113–128. https://doi.org/10.1080/17540763.2016.1258658
Shreshta, P. P. (1993). Nepal Rediscovered: Rana Court 1846-1951. Time Books International.
Stasch, R. (2014). Primitivist tourism and romantic individualism: On the values in exotic stereotypy about cultural others. Anthropological Theory, 14(2), 191–214. https://doi.org/10.1177/1463499614534114
The Caravan. (n.d.). https://caravanmagazine.in/
Tyner, J. A., & Devadoss, C. (2014). Administrative violence, prison geographies and the photographs of Tuol Sleng Security Center, Cambodia. Area, 46(4), 361–368. https://doi.org/10.1111/area.12119
Vong, M., & Hok, K. (2018). Facebooking. South East Asia Research, 26(3), 219–234. https://journals.sagepub.com/doi/full/10.1177/0967828X17754113
W. Hartmann, J. Silvester, & P. Hayes. (1998). Part 1: Introduction. In The colonising camera: photographs in the making of Namibian history (pp. 1–24). University of Cape Town Press.
Walter, B. (1999). Little history of photography. In Selected writings: Volume 2: 1927-1934 (pp. 507–530). The Belknap Press of Harvard University. https://contentstore.cla.co.uk/secure/link?id=4ce41f73-1af6-e711-80cd-005056af4099
Walton, S. (2015). Re-Envisioning Iran Online. Middle East Journal of Culture and Communication, 8(2–3), 398–418. https://doi.org/10.1163/18739865-00802012
Wendl, T. (1999). Ghana: portraits and scenery. In Anthology of African and Indian Ocean photography (English ed, pp. 143–155). Revue Noire.
Wright, C. (2004). Material and Memory: Photography in the Western Solomon Islands. Journal of Material Culture, 9(1), 73–85. https://doi.org/10.1177/1359183504041090
Young, S., & Peou, C. (n.d.). Internet, Facebook, competing political narratives,and political control in Cambodia. https://contentstore.cla.co.uk/secure/link?id=bcff0683-7a19-e911-80cd-005056af4099
Zeynep Devrim Gürsel. (2016). Introduction. In Image brokers: visualizing world news in the age of digital circulation (pp. 1–41). University of California Press. https://contentstore.cla.co.uk/secure/link?id=1eb9af20-a419-e911-80cd-005056af4099
Zeynep Devrim Gürsel. (2016). Visa pour l’image: Personal Visions and Amateur Documents. In Image Brokers : the Work of Images and Visual Circulation. University of California Press.