Burcu Dogramaci is Professor of Art History and Director of the Käte Hamburger Research Centre global dis:connect at the Ludwig-Maximilians-Universität München. Winfried Gerling is Professor of Concepts and Aesthetics of New Media in the Department of Design at the University of Applied Sciences in Potsdam where he works in the European Media Studies Program jointly run with the University of Potsdam. Jens Jäger is Professor of Modern History at the University of Cologne. Birgit Mersmann is Professor of Contemporary Art and Digital Image Cultures at the University of Bonn.

• Introduction. Nomadic Camera: Photography, Displacement and Dis:connectivities Burcu Dogramaci, Winfried Gerling, Jens Jäger and Birgit MersmannSection 1. Techniques and TechnologiesChapter 1. Fugitive Heat: Notes on Richard Mosse’s Thermal Images Winfried GerlingChapter 2. Reflections on Photography and ‘Flight’ : Encounters with Human and More-than-Human Lives in Transit Noemi QuagliatiChapter 3. The Nomadic Camera as a Given Camera : Concepts in Documentaries on Flight and Migration Florian KrautkrämerChapter 4. “A still image with a little bit of life to it” : Towards a Migratory Aesthetic of Smartphone Photography Svea BraeunertChapter 5. In Transition: Nomadic Cameras, Displaced Photographers and Migratory Images Burcu DogramaciSection 2. Body, Agents and PerformativityChapter 6. Albert Frisch and the Representation of the Body in Visual Narratives of Early Amazonian Photography Sabrina MouraChapter 7. “I am not migrating to the USA” : Performing Migrancy in Paulo Nazareth’s Notícias de América Lara BourdinChapter 8. Acting for Those We Left Behind : The Performance and Exchange of Family Photographs by Guest Workers in Denmark in the 1970s Mette SandbyeChapter 9. A Conversation with Fatimah M. Dadzie on Her Documentary Fati’s Choice (Le choix de Fati) (Ghana, South Africa, 2021) Winfried Gerling and Jens JägerChapter 10. The Nomadic Camera and Digital Visual Journalism : Ethical Considerations in the Making Evelyn RungeSection 3. Media Narrations and NarrativesChapter 11. The Camera in the Service of Humanism and the Legacies of Neorealism Fabienne LiptayChapter 12. Weaponised Environments: From the Migrant Image to the Media of Causes T. J. DemosChapter 13. Unfolding Postmigrant Stories : Narratives of Resettlement and Homemaking in Tammy Law’s Photobook Permission to Belong Birgit MersmannChapter 14. Nomadic Photography: Jeff Moore’s Lockdown London Homeless Project Christina TenteChapter 15. The Registry of Itinerant Architectures Ainslie MurraySection 4. Circulation, Archive and MemoryChapter 16. Captured Reality: Oba Ovonramwen and the Benin Bronzes Stefanie MichelsChapter 17. “Nowhere in Africa”? German-Jewish Experiences of Migration and Exile in Kenya: A Family Photo Album Anna Sophia MessnerChapter 18. The METROMOD Archive as a “Living Archive” : Researching Exile Photography in New York in the 1930s and 1940s Helene RothChapter 19. The Israeli Government Press Office Photography Department : A Case Study on Photographic Action in the Middle East Annette VowinckelChapter 20. “Salam azizam, chetori?”: Nomadic Family Photographs in the Iranian Diaspora Cathrine BublatzkyChapter 21. Moving Archives and Liquid Time : The Work of Photographs in an Age of Decomposition Elizabeth EdwardsBiographies of the Authors

This collection of essays drawing from history, media studies, art, art history, and ethnology offers a thoughtful analysis of the “nomadic camera” in the context of migration, flights, and displacements. The nomadic camera understood as both a tool to record and a concept to reflect upon migration complicates the usual narrative we have of migration, but also of photography. - Laurence Cuelenaere, cultural anthropologist and photographer

Burcu Dogramaci is Professor of Art History and Director of the Käte Hamburger Research Centre global dis:connect at the Ludwig-Maximilians-Universität München. Winfried Gerling is Professor of Concepts and Aesthetics of New Media in the Department of Design at the University of Applied Sciences in Potsdam where he works in the European Media Studies Program jointly run with the University of Potsdam. Jens Jäger is Professor of Modern History at the University of Cologne. Birgit Mersmann is Professor of Contemporary Art and Digital Image Cultures at the University of Bonn.

• Introduction. Nomadic Camera: Photography, Displacement and Dis:connectivities Burcu Dogramaci, Winfried Gerling, Jens Jäger and Birgit MersmannSection 1. Techniques and TechnologiesChapter 1. Fugitive Heat: Notes on Richard Mosse’s Thermal Images Winfried GerlingChapter 2. Reflections on Photography and ‘Flight’ : Encounters with Human and More-than-Human Lives in Transit Noemi QuagliatiChapter 3. The Nomadic Camera as a Given Camera : Concepts in Documentaries on Flight and Migration Florian KrautkrämerChapter 4. “A still image with a little bit of life to it” : Towards a Migratory Aesthetic of Smartphone Photography Svea BraeunertChapter 5. In Transition: Nomadic Cameras, Displaced Photographers and Migratory Images Burcu DogramaciSection 2. Body, Agents and PerformativityChapter 6. Albert Frisch and the Representation of the Body in Visual Narratives of Early Amazonian Photography Sabrina MouraChapter 7. “I am not migrating to the USA” : Performing Migrancy in Paulo Nazareth’s Notícias de América Lara BourdinChapter 8. Acting for Those We Left Behind : The Performance and Exchange of Family Photographs by Guest Workers in Denmark in the 1970s Mette SandbyeChapter 9. A Conversation with Fatimah M. Dadzie on Her Documentary Fati’s Choice (Le choix de Fati) (Ghana, South Africa, 2021) Winfried Gerling and Jens JägerChapter 10. The Nomadic Camera and Digital Visual Journalism : Ethical Considerations in the Making Evelyn RungeSection 3. Media Narrations and NarrativesChapter 11. The Camera in the Service of Humanism and the Legacies of Neorealism Fabienne LiptayChapter 12. Weaponised Environments: From the Migrant Image to the Media of Causes T. J. DemosChapter 13. Unfolding Postmigrant Stories : Narratives of Resettlement and Homemaking in Tammy Law’s Photobook Permission to Belong Birgit MersmannChapter 14. Nomadic Photography: Jeff Moore’s Lockdown London Homeless Project Christina TenteChapter 15. The Registry of Itinerant Architectures Ainslie MurraySection 4. Circulation, Archive and MemoryChapter 16. Captured Reality: Oba Ovonramwen and the Benin Bronzes Stefanie MichelsChapter 17. “Nowhere in Africa”? German-Jewish Experiences of Migration and Exile in Kenya: A Family Photo Album Anna Sophia MessnerChapter 18. The METROMOD Archive as a “Living Archive” : Researching Exile Photography in New York in the 1930s and 1940s Helene RothChapter 19. The Israeli Government Press Office Photography Department : A Case Study on Photographic Action in the Middle East Annette VowinckelChapter 20. “Salam azizam, chetori?”: Nomadic Family Photographs in the Iranian Diaspora Cathrine BublatzkyChapter 21. Moving Archives and Liquid Time : The Work of Photographs in an Age of Decomposition Elizabeth EdwardsBiographies of the Authors

This collection of essays drawing from history, media studies, art, art history, and ethnology offers a thoughtful analysis of the “nomadic camera” in the context of migration, flights, and displacements. The nomadic camera understood as both a tool to record and a concept to reflect upon migration complicates the usual narrative we have of migration, but also of photography. - Laurence Cuelenaere, cultural anthropologist and photographer

Burcu Dogramaci is Professor of Art History and Director of the Käte Hamburger Research Centre global dis:connect at the Ludwig-Maximilians-Universität München. Winfried Gerling is Professor of Concepts and Aesthetics of New Media in the Department of Design at the University of Applied Sciences in Potsdam where he works in the European Media Studies Program jointly run with the University of Potsdam. Jens Jäger is Professor of Modern History at the University of Cologne. Birgit Mersmann is Professor of Contemporary Art and Digital Image Cultures at the University of Bonn.

• Introduction. Nomadic Camera: Photography, Displacement and Dis:connectivities Burcu Dogramaci, Winfried Gerling, Jens Jäger and Birgit MersmannSection 1. Techniques and TechnologiesChapter 1. Fugitive Heat: Notes on Richard Mosse’s Thermal Images Winfried GerlingChapter 2. Reflections on Photography and ‘Flight’ : Encounters with Human and More-than-Human Lives in Transit Noemi QuagliatiChapter 3. The Nomadic Camera as a Given Camera : Concepts in Documentaries on Flight and Migration Florian KrautkrämerChapter 4. “A still image with a little bit of life to it” : Towards a Migratory Aesthetic of Smartphone Photography Svea BraeunertChapter 5. In Transition: Nomadic Cameras, Displaced Photographers and Migratory Images Burcu DogramaciSection 2. Body, Agents and PerformativityChapter 6. Albert Frisch and the Representation of the Body in Visual Narratives of Early Amazonian Photography Sabrina MouraChapter 7. “I am not migrating to the USA” : Performing Migrancy in Paulo Nazareth’s Notícias de América Lara BourdinChapter 8. Acting for Those We Left Behind : The Performance and Exchange of Family Photographs by Guest Workers in Denmark in the 1970s Mette SandbyeChapter 9. A Conversation with Fatimah M. Dadzie on Her Documentary Fati’s Choice (Le choix de Fati) (Ghana, South Africa, 2021) Winfried Gerling and Jens JägerChapter 10. The Nomadic Camera and Digital Visual Journalism : Ethical Considerations in the Making Evelyn RungeSection 3. Media Narrations and NarrativesChapter 11. The Camera in the Service of Humanism and the Legacies of Neorealism Fabienne LiptayChapter 12. Weaponised Environments: From the Migrant Image to the Media of Causes T. J. DemosChapter 13. Unfolding Postmigrant Stories : Narratives of Resettlement and Homemaking in Tammy Law’s Photobook Permission to Belong Birgit MersmannChapter 14. Nomadic Photography: Jeff Moore’s Lockdown London Homeless Project Christina TenteChapter 15. The Registry of Itinerant Architectures Ainslie MurraySection 4. Circulation, Archive and MemoryChapter 16. Captured Reality: Oba Ovonramwen and the Benin Bronzes Stefanie MichelsChapter 17. “Nowhere in Africa”? German-Jewish Experiences of Migration and Exile in Kenya: A Family Photo Album Anna Sophia MessnerChapter 18. The METROMOD Archive as a “Living Archive” : Researching Exile Photography in New York in the 1930s and 1940s Helene RothChapter 19. The Israeli Government Press Office Photography Department : A Case Study on Photographic Action in the Middle East Annette VowinckelChapter 20. “Salam azizam, chetori?”: Nomadic Family Photographs in the Iranian Diaspora Cathrine BublatzkyChapter 21. Moving Archives and Liquid Time : The Work of Photographs in an Age of Decomposition Elizabeth EdwardsBiographies of the Authors

This collection of essays drawing from history, media studies, art, art history, and ethnology offers a thoughtful analysis of the “nomadic camera” in the context of migration, flights, and displacements. The nomadic camera understood as both a tool to record and a concept to reflect upon migration complicates the usual narrative we have of migration, but also of photography. - Laurence Cuelenaere, cultural anthropologist and photographer