Photography, anthropology, and history : expanding the frame by Elizabeth Edwards, Christopher Morton

By Elizabeth Edwards, Christopher Morton

As present study rethinks the connection among images and anthropology, this quantity will function a stimulus to this new section of study as a necessary textual content and methodological reference element in any path that addresses the connection among anthropology and visuality. hide; Contents; checklist of Figures; Notes on participants; Acknowledgements; advent; half I Historicizing visible Anthropology; 1 'Distempered Daubs' and Encyclopaedic international Maps: The Ethnographic value of Panoramas and Mappaemundi; 2 Anthropology and the Cinematic mind's eye; half II Institutional buildings; three Salvaging Our earlier: images and Survival; four Frozen Poses: Hamat'sa Dioramas, Recursive illustration, and the Making of a Kwakwaka'wakw Icon; half III Fieldwork; five The Initiation of Kamanga: Visuality and Textuality in Evans-Pritchard's Zande Ethnography

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2003. Museums and Source Communities: A Routledge Reader. London: Routledge. Peterson, N. 2003, Changing the photographic contract: aborigines and image ethics, in Photography’s Other Histories, edited by C. Pinney and N. Peterson. Durham, NC and London: Duke University Press. Pinney, C. 1989. : ethical issues in the use of a photographic archive, Journal of Museum Ethnography, 1, 57–71. — 1992. The parallel histories of anthropology and photography, in Anthropology and Photography 1860–1920, edited by E.

In rare instances, two paintings would be exhibited in different locations in adjacent galleries within the same building, offering spectators the cinematic equivalent of a short subject before the main feature. 1, with a painting of Margate located on top of the main Grand Fleet panorama. Describing the exhibition set-up of panoramas does not, however, explain the nature of the viewing experience. Panoramas are phenomenologically complex sign systems, and helped spawn what art historian Shelly Rice calls a ‘panoramic consciousness’ in the nineteenth century, evidenced in such paintings as Caspar David Friedrich’s Moonrise Over the Sea from 1821, which includes two men ‘who have walked out onto the rocks extending into the sea so they can experience the thrill of being virtually encircled by the vast “panoramic” horizon line’ (Rice 1993: 70).

And R. Roberts (eds). 1997. In Visible Light: Photography and Classification in Art, Science and the Everyday. Oxford: Museum of Modern Art. Introduction 23 Kaplan, E. 2002. Many paths to partial truths: archives, anthropology, and the power of representation, Archival Science, 2, 209–20. Kopytoff, I. 1986. The cultural biography of things: commoditization as process, in The Social Life of Things: Commodities in Cultural Perspective, edited by A. Appadurai. Cambridge: Cambridge University Press, 64–91.

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