Photography is clearly not a mirror of daily life: that images are constructions is especially obvious in 19th-century studio portrait photography. This book explores how indigenous Iranian photographers constructed their own realities in contrast to howforeign photographers constructed Iranians' realities. Through an in-depth comparative visual analysis of 19th-century Iranian portrait photography and Persian painting, the author arrives at the insight that aesthetic preferences correlate with socio-cultural habits and practices in writing, reading and looking. Subsequently, she advocates for a place in a global history of photography for those unknown, local photo histories (such as the Iranian one) and for the indigenous photographers who produced them.
This book explores how indigenous Iranian photographers constructed their own realities in contrast to how foreign photographers constructed Iranians' realities.
Photography is clearly not a mirror of daily life: that images are constructions is especially obvious in 19th-century studio portrait photography. This book explores how indigenous Iranian photographers constructed their...
“We say you get mad—or surly—from the inability to find good beer,” says brewmaster Todd Haug. Omar decided to make his own good beer. Todd was working at Rock Bottom Brewery when he heard from a common friend that Omar was starting a ...
Noble Dreams and Wicked Pleasures. Orientalism in America, 1870–1930, Princeton: Princeton University Press, 2000 (Çelik, 2000, 96). Nonetheless this narrative also touches on the currency of visual representations in late Ottoman ...
Monografie over het werk van de Amerikaanse fotografe (1923-1971) en hoe zich dit verhoudt tot andere kunstzinige en maatschappelijke ontwikkelingen in de zestiger jaren van de twintigste eeuw.
Eyth's finished work was, in turn, photographed by one of the Blessing brothers so that copies could be purchased by members of the artillery.15 One painting by Eyth, Portrait of Sarah Scott Williams, is included in the Rosenberg ...
This is the story of a girl who is horse crazy.
Rediker states that “Barber may have had antislavery sympathies, but he used racialized tropes of savagery in representing the Amistad Africans.”39 Similarly, in regards to Barber's depiction of thirty-seven Amistad African heads in ...
42 James Thompson, 'The Herrick Portraits in the Guildhall, Leicester', Transactions of the Leicestershire Architectural and Archaeological Society, 2 (1870), 43—54; Mary Bateson (ed.), Records of the Borough ofLeicester, 3 (1905), 64, ...
This collective volume deals with examples from Iran, the Ottoman Empire, and the Arab lands and with the question of local specifics, or an „indigenous lens.