Jewel of the Pacific and planter's paradise

A 10‐week series with 60 photographs on the Solomon Islands was not unusual in illustrated newspapers and magazines in the early 20th century, and The Queenslander was maintaining a pattern of photographic imaging of sub‐empire going back to the 1890s, concentrating on possible post‐war colonial realignments, appropriateness of British policy and the economic and political roles Australians would adopt if a formal relationship existed with the Solomon Islands. In calling for a greater presence in 1917–18, The Queenslander was supported by expansionists, missions and traders, shipping companies and readers with personal links through work, investment, friends or missions. This essay acknowledges the role of photography in Australian relations with the Pacific, its role in shaping public opinion, and the access it offers to the history of Australia's diverse regional links and particularly its thwarted claims for a closer relationship with the Solomons, depicted optimistically as a planter's paradise and a potential addition to an Australian sub‐empire.     

Photographic Uncertainties: Between Evidence and Reassurance

This paper examines the mid-nineteenth century photographic collecting practices in the Colonial Office (CO) in London. Following methodologies laid down by Stoler and Joyce, the paper excavates the epistemic procedures through which photography and its role in colonial governance operated between the late 1860s and 1875. I focus my analysis on the production of, and response to, two CO despatches, which were circulated in November 1869 requesting photographs. But what was the work expected of these photographs, what were they meant “to do”? What was their relationship with anthropology and geography? The paper argues that in the praxis of central government, the role of photographic evidence was more uncertain and confused than instrumental interpretative models have assumed. I shall argue that in many cases photographs were not “evidence” in any dynamic sense in information provision, but rather functioned as tools of reassurance.     

Children and Print Visual Culture During the Chilean Popular Unity Government

This article analyses the visual figuration of children during the Chilean Popular Unity government (1970–1973) in a diverse archive of photographs, posters, album covers, magazines, and comics. First, it reads the realist representation of children in photography, which emphasises the dramatics of poverty as a form of establishing a photographic “civil contract” (Azoulay, The Civil Contract of Photography, 2008). Second, it interprets posters and texts concerning the Allende government’s Plan de Leche (Milk Plan) as an affirmative biopolitics. It concludes by showing that the children on illustrated posters are the idealised version of childhood projected by adults as a way of imagining a coming community.     

When things were ‘closing-in’ and ‘rolling up’: the imaginative geography of Elizabeth Bowen’s Anglo-Irish war novel The Last September

This paper examines the imaginative geography of Elizabeth Bowen’s 1929 novel The Last September. Drawing on Said’s analysis of imaginative geographies as registers of territorial identity, I consider the ways in which Bowen’s text maps Anglo-Irish territorial identity in early twentieth-century Ireland. Reading the text as an authoritative, albeit subjective, record of Anglo-Irish experience in Ireland, I identify four interconnected spaces which constitute the imaginative geography of the novel: the open, empty and isolated country; a wider landscape of resistance and control; a distant but necessary England; and an historical landscape of colonial decline. In conclusion, I outline how the concept of imaginative geographies provides a useful lens through which the often fragmented and conflicted nature of territorial identities, both during and after the colonial period, can be explored.     

From Photography to Cinematography: Recording Movement and Gait in a Neurological Context

The major challenge of photography has been freezing movement, to transform it into a fixed image or series of images. Very soon, photographers became interested in movement itself and tried to use photography as a tool to analyze movement. At the early stages, physicians interested in movement, perhaps surprisingly, made important technical contributions. Mécanisme de la physionomie humaine, by Duchenne, the first book with physiological experiments illustrated by photographs, is a landmark in this historical development. At the Salpêtrière, thanks to Charcot, photography officially entered clinical neurology. Medical journals with photographs were actively developed by Bourneville. Londe established a clinical photographic laboratory and published the first book on medical photography. The study of animal and human movement by Muybridge and Marey in the 1880s led to chronophotography and later cinematography. Clinicians such as Dercum and Richer took advantage of these new techniques to study pathological movement and gait in neurological diseases.     

Reproducing the indigenous: John Møller’s studio portraits of Greenlanders in context

Between 1889 and 1922, John Møller (1867–1935), the first professional Greenlandic photographer, produced more than 3000 glass plate negatives documenting life in Western Greenland around the turn of the twentieth century. Rooted in an internal understanding of self, Møller’s photographs played an important part in the formation of a contemporary image of Greenlandic indigenous identity. At the same time, Møller’s photographic practice was arguably entangled in and delimited by a historical reality that was structured by colonial relations of power. This paper examines the social and art-historical contexts of Møller’s work, focusing in particular on a selection of his formal studio portraits. My reading of these portraits suggests a case in which conflicting impulses coincide. On the one hand, Møller produced images that played out the “ethnographic convention”, a European form of representation dating back to the sixteenth century used for the documentation of non-Western indigenous peoples as specimens. However, in acting out that convention, Møller’s photographs hint at a subtle, progressive building-up of identity that reclaimed images of Greenlanders for themselves, and turned an originally negative, external image of indigeneity into a positive sense of self.     

Government Publishing in the German Pacific 1885–1914

Germany’s colonial experience in the Pacific was both relatively short (1884–1914) and also quite dispersed. In addition to administrative staff and office, a well-functioning colonial administration also required the means to propagate and document its administrative regulations and decisions. This article examines how the administrative offices in German Samoa and German New Guinea went about their official printing needs. In the Samoa case, the Germans ‘inherited’ a well-established printing environment, facilitated by newspapers. Here the official publications of the colonial government were merely additional print-jobs. In German New Guinea, however, no such infrastructure pre-existed and the German administration had to start its own press. Over time, the government gazette added no official sections and, had World War I not intervened, was on track to became a local newspaper.     

Quantitative analysis of two low-cost aerial photography platforms: A case study of the site of Zagora,Andros, Greece

Aerial photography provides a valuable recording method for archaeological sites and is often underutilized. In the past, aerial photographic platforms were expensive and often required highly specialized equipment. However, with new technology a variety of different platforms are now available. This paper will analyze two low cost aerial photographic platforms used at the Australian Archaeological Institute at Athens/University of Sydney's project at Zagora, on the island of Andros, Greece. Over two years, both kites and drones were used with relative success. Through a review of the application of both systems on the project, along with a quantitative analysis of the cost, transportability, operation and quality of photographs, the strengths and weaknesses of both platforms will be discussed.     

Valkeapää's Use of Photographs in Beaivi áhčážan: Indigenous Counter-History versus Documentation in the Age of Photography

This article examines the photographic material of the Sámi cultural mobilizer Nils-Aslak Valkeapää's Beaivi áh?á?an (The Sun, My Father), published in 1988, with theoretical perspectives from anti- and postcolonial studies. The analysis focuses on how Valkeapää's use of photographs involves that the colonial past is examined from the vantage point of the anti-colonial present of the 1980s. Valkeapää's re-contextualization of photographs from ethnographic collections assembled in the late nineteenth and early twentieth centuries in a book he called a family album of the Sámi is discussed as an example of Sámi counter-history that is part of the decolonization process. When analysed with perspectives from anti- and postcolonial studies, the documentation of the way of life of the Sámi people in the late nineteenth and early twentieth centuries exemplifies a practice which has constructed the Sámi as the others of modern society. The article discusses how the construction of the Sámi as the others of modernity is deconstructed and challenged in present-day indigenous identity politics.     

The weird tales,spicy detectives,and startling stories of Irish-America: Irish characters in American pulp magazines

The pulp magazines that dominated early twentieth-century American popular culture helped shape popular understandings of Irish-American identity. Several notable types of pulp hero (cowboy, detective, G-Man, masked hero) were defined in part by Irish stereotypes and counter-stereotypes. They played upon notions of the Irish as figures straddling the border between civilisation and savagery to evoke an image of a new kind of American who was well equipped for the rapidly changing and chaotic American century. Irish-American pulp stories often lack explicitly Irish cultural or historical references and instead focus on describing Irishness as a more generic Americanness. Similarly, the Irish-American character moved further from ethnic stereotype to become a generic masculine ideal. In several ways, the pulp magazines chronicle the formation of an assimilated Irish identity in the USA.     

Relational alterity: Constructing dungan (hui), uygur,and Kazakh identities across china,central Asia,and Turkey

Reaching wide and diverse audiences, magic lantern shows and postcards played an important role in the dissemination of visual knowledge of other cultures in the British colonial era. Fakirs were a popular subject of postcards and lantern slides representing India. This reflected the official attention paid to religious ascetics who were seen as representative of everything that was problematic and in need of improvement in the country in colonial texts. Images of fakirs stood in a tradition of the representation of the “type”. However, following Barthes, it is important to analyse the connection between image and text. Lantern shows came with readings, which were more often preserved than images, but specific examples of images and texts together are taken from Harold Mackinder's and John Stoddard's lectures on India. The lectures are evidently anchored in the colonial discourse, while the images of postcards and slides evade the boundaries set by the text.     

牛岛春子与“满洲”

日本侵华时期,大批日本左翼转向作家,迫于各种缘由来到中国东北,在殖民主义政权猖獗之时,他们在文坛上留下了众多的殖民主义色彩的“标识”。牛岛春子便是其中一个典型代表。她以一个“满洲国”官僚太太的身份目睹了“满洲”殖民政权的衰微,又以女性作家特有的纤细笔触诠释了统治民族眼中的异地异风异人。本文力求从历史叙述的角度揭示“左翼转向作家”牛岛春子笔下的“民族协和”景象,以资为剖析日本殖民主义政权的侵略政策提供一个历史的昭示。     

Moving pictures: Memory and photography among the Arhuaco of the Sierra Nevada de Santa Marta,Colombia

This article traces the changing uses and meanings of a set of ethnographic photographs that represent a contentious period in the history of the Arhuaco, an indigenous group that inhabits the Sierra Nevada de Santa Marta, in Northern Colombia. Based on archival sources and fieldwork, I explore their role in the 1910s when they were created by Swedish anthropologist Gustaf Bolinder, and also analyse indigenous re-significations and contests over the meaning of the photographs in 2010s as a process that is intertwined with their present struggles. I study their use by an Arhuaco media-maker who incorporated them into a historical documentary film and debates among community members around possible interpretations of the pictures. Through this case study I seek to contribute to the expanding scholarship on the history of anthropological photography, and in particular to recent efforts to move beyond vertical colonial readings and emphasize indigenous agency. I argue for the need of a more nuanced understanding of indigenous and non-indigenous uses of photography that takes into account a shared history and does not naturalize differences. Furthermore, I trace the changing meanings of photographs in order to illuminate the historicity implied in the process of attributing meaning to the past.     

From photography to cinematography: recording movement and gait in a neurological context

The major challenge of photography has been freezing movement, to transform it into a fixed image or series of images. Very soon, photographers became interested in movement itself and tried to use photography as a tool to analyze movement. At the early stages, physicians interested in movement, perhaps surprisingly, made important technical contributions. Mécanisme de la physionomie humaine, by Duchenne, the first book with physiological experiments illustrated by photographs, is a landmark in this historical development. At the Salpêtrière, thanks to Charcot, photography officially entered clinical neurology. Medical journals with photographs were actively developed by Bourneville. Londe established a clinical photographic laboratory and published the first book on medical photography. The study of animal and human movement by Muybridge and Marey in the 1880s led to chronophotography and later cinematography. Clinicians such as Dercum and Richer took advantage of these new techniques to study pathological movement and gait in neurological diseases.     

Indigenous Modernities: Missionary Photography and Photographic Gaps in Nauru

This essay examines a set of photographs created by Philip Delaporte, a German-American missionary working for the American Board of Commissioners for Foreign Missions on the island of Nauru in the early 20th century. At the time Nauru was a German colony, but the phosphate industry had brought a varied group of settlers and influences that added to a pre-existing series of inter-Pacific connections. The photographs were produced just prior to the full realization of the mining industry and the widespread ecological destruction it brought to the island. In many ways, Delaporte’s photographs are typical, recording the mission’s various projects and successes. However, Delaporte’s unique position as an ambiguous colonial figure on the eve of World War I, and Nauru’s own complex relationship with modernity, invite alternate readings of these images. Outside of Delaporte’s original intention, the photographs record other experiences: the workings of Indigenous modernity in the midst of a place increasingly subject to the inflows of global, colonial capital.     

The Visual Inheritance: Collections of Historical Photographs from Papua New Guinea

Knowledge about historical photographic collections of Papua New Guinea (PNG) is limited both in source communities and amongst scholars. This article aims to shed light on significant collections of PNG photographs, describing some of the collections, and pointing to their importance at both ends of the ‘exchange’. I discuss some limitations in present uses of these visual records and point to the need for repatriation initiatives. The poor knowledge of extant photographic collections among today’s Papua New Guineans is described, and I raise some thoughts about what this signals to archives and researchers. As examples, special mention is given to the collections of photographers Albert English, William Saville, Rudolf Pöch and Captain F.R. Barton. Finally, I comment on current challenges and future opportunities for the keepers of these historical collections. A list of the collections mentioned in the article can be found at the end.     

Dendrochronological dating of wooden artifacts by measuring the tree rings using magnifying glass and photography-assisted method: an example of a Dutch panel painting

Dendrochronology, an analysis of tree rings, is a commonly used method for dating wooden structures in archaeological remains and historical objects. Fascinating subjects of examination are the historical oil paintings on oak panels. Here, we applied a tree ring analysis on three boards of a Dutch painting from the Sinebrychoff Art Museum (Helsinki). Tree rings were measured using the conventional lens-assisted method, in addition to the photography-based approach, where the widths of the rings were determined from digital enlargements of the photos. These two methods produced comparable tree ring series. The lens- and photography-based records of the measured panel exhibited higher agreement with each other than the conventional, lens-based, record against the different master chronologies. Dendrochronological cross-dating against the master chronology showed that the rings of the panel represent the period ad 1413–1620. Cross-dating was attained by comparing the tree ring series of the panel painting with the previously published chronologies obtained from timber transported from the historical ports of the Eastern Baltic Sea to Western Europe. Photography appears as a promising method to be used for dendrochronological investigations of archaeological and historical objects, alongside the conventional methods. We note that the importance of using photographs of tree ring cross sections was highlighted already in the 1930s. In the digital era, the photographic approach shows obvious benefits for archival purposes and remeasuring the rings, with additional future prospects of image processing and analyses.     

Review of Archaeological Research in Angola

This article examines the historical processes that shaped the development of archaeological practice in Angola during the Portuguese colonial period and the aftermath of political independence. Using published works, unpublished reports, and photographic records, we examine the research themes, actors, scholars, and institutions that influenced archaeological research in the country. We also used documents and museum collections in Angola and Portugal to create a GIS database of Angola’s archaeological findings. This study highlights the events, personalities, and priorities that motivated earlier investigations, and the geographical distribution of prehistoric sites. We hope this study will be a resource for guiding future archaeological research in Angola.

     

Restaging Time: Photography,Performance and Anachronism in Shadi Ghadirian's Qajar Series

This paper looks at a group of photographs entitled Qajar Series (1998) by artist Shadi Ghadirian. Ghadirian recreates sets to look like those used in photographic portraits taken during the late nineteenth and early twentieth century of the Qajar dynasty period and dresses her female sitters in costumes reminiscent of clothes from the era. The artist also integrates contemporary objects that do not fit within the historical setting created for the camera. This essay examines how the artist uses performance to stage this anachronism and think critically about temporal discourses and their links to the categories of modernity and tradition.     

WHY PHOTOGRAPHY MATTERS TO THE THEORY OF HISTORY

Georges Didi-Huberman's study is concerned with epistemological and ethical questions that arise from visual representations of the Shoah, while Michael Fried's is concerned with the ontological possibilities explored by contemporary art photography. The books have two things in common: an argument against postmodern skepticism, and an insistence that photography has become a field in which questions of history, truth, and authenticity are being explored with particular acuity. Rather than reject even the possibility that photographs have something to tell us about the Shoah, Didi-Huberman shows that they can offer important insights into the difficulties and the possibilities of apprehending some aspects of the past.
Fried shows that contemporary photographic work has taken on the ambitions of high modernism by accepting the challenge of "to-be-seenness." Photography as a "historical practice" does not escape from the difficulties of evidence and of the "constructed" nature of historical understanding; photography functions neither as a pure trace of the past, nor as a mere invitation to spectacle.