Please use this identifier to cite or link to this item:
https://hdl.handle.net/1959.11/27421
Full metadata record
DC Field | Value | Language |
---|---|---|
dc.contributor.author | Porter, Glenn | en |
dc.contributor.author | Kennedy, Michael | en |
dc.date.accessioned | 2019-08-08T03:58:57Z | - |
dc.date.available | 2019-08-08T03:58:57Z | - |
dc.date.issued | 2012 | - |
dc.identifier.citation | Australian Journal of Forensic Sciences, 44(2), p. 183-192 | en |
dc.identifier.issn | 1834-562X | en |
dc.identifier.issn | 0045-0618 | en |
dc.identifier.uri | https://hdl.handle.net/1959.11/27421 | - |
dc.description.abstract | The application of visual material is becoming increasingly more prominent when presenting forensic evidence in contemporary courts. This paper examines how photographic evidence is used as a means of presenting facts relating to evidence and whether the concept of photographic truth actually exists and advances knowledge. This paper suggests that the obligatory telling of truth when presenting evidence should also extend into the showing of the truth when visual narratives become dominant within forensic evidence. It further challenges the notion that photographs, due to the mechanistic nature of the camera, produce naturally objective and independent evidence that reinforces the search for the truth. Faithful contextualisation of photographic evidence is essential when the reliability of this form of evidence is deliberated. | en |
dc.language | en | en |
dc.publisher | Taylor & Francis | en |
dc.relation.ispartof | Australian Journal of Forensic Sciences | en |
dc.title | Photographic truth and evidence | en |
dc.type | Journal Article | en |
dc.identifier.doi | 10.1080/00450618.2011.634835 | en |
local.contributor.firstname | Glenn | en |
local.contributor.firstname | Michael | en |
local.subject.for2008 | 190104 Visual Cultures | en |
local.subject.for2008 | 160299 Criminology not elsewhere classified | en |
local.subject.seo2008 | 940499 Justice and the Law not elsewhere classified | en |
local.profile.school | School of Humanities, Arts and Social Sciences | en |
local.profile.email | gporter4@une.edu.au | en |
local.output.category | C1 | en |
local.record.place | au | en |
local.record.institution | University of New England | en |
local.publisher.place | United Kingdom | en |
local.format.startpage | 183 | en |
local.format.endpage | 192 | en |
local.identifier.scopusid | 84897733917 | en |
local.peerreviewed | Yes | en |
local.identifier.volume | 44 | en |
local.identifier.issue | 2 | en |
local.contributor.lastname | Porter | en |
local.contributor.lastname | Kennedy | en |
dc.identifier.staff | une-id:gporter4 | en |
local.profile.role | author | en |
local.profile.role | author | en |
local.identifier.unepublicationid | une:1959.11/27421 | en |
local.date.onlineversion | 2012-01-25 | - |
dc.identifier.academiclevel | Academic | en |
dc.identifier.academiclevel | Academic | en |
local.title.maintitle | Photographic truth and evidence | en |
local.output.categorydescription | C1 Refereed Article in a Scholarly Journal | en |
local.search.author | Porter, Glenn | en |
local.search.author | Kennedy, Michael | en |
local.uneassociation | Unknown | en |
local.year.available | 2012 | en |
local.year.published | 2012 | en |
local.fileurl.closedpublished | https://rune.une.edu.au/web/retrieve/f147035a-34e9-45f5-8992-f749dfaca0ae | en |
local.subject.for2020 | 360104 Visual cultures | en |
local.subject.for2020 | 440299 Criminology not elsewhere classified | en |
local.subject.seo2020 | 230499 Justice and the law not elsewhere classified | en |
Appears in Collections: | Journal Article School of Humanities, Arts and Social Sciences |
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