Camera Orientalis: Reflexionen zur Fotografie des Nahen Ostens, Behdad, Ali, V
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Camera Orientalis: Reflexionen zur Fotografie des Nahen Ostens, Behdad, Ali, V
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- ISBN
- 9780226356402
Über dieses Produkt
Product Identifiers
Publisher
University of Chicago Press
ISBN-10
022635640X
ISBN-13
9780226356402
eBay Product ID (ePID)
21038288602
Product Key Features
Number of Pages
224 Pages
Publication Name
Camera Orientalis : Reflections on Photography of the Middle East
Language
English
Subject
Middle Eastern, General, Criticism, Middle East / General
Publication Year
2016
Type
Textbook
Subject Area
Literary Criticism, Travel, Photography, History
Format
Trade Paperback
Dimensions
Item Height
0.1 in
Item Weight
17 Oz
Item Length
0.9 in
Item Width
0.7 in
Additional Product Features
Intended Audience
Scholarly & Professional
LCCN
2015-039772
Reviews
Reading the book in the contemporary political moment, when (digital) technologies and visualizations continue to be deployed to stake 'truth'-claims about 'others,' Camera Orientalis , and its author's insistence that every iota of power be accounted for in unearthing the architectonics of visual knowledge, makes for an important benchmark of understanding., Finding that the Middle East served as an important site for the development of photography, Behdad traces the unequal gazes through which photography enabled Orientalist ways of seeing. But, surprisingly and powerfully, Camera Orientalis goes on to show that photographic encounters engender more than struggles for control of the visual field. They also yield multidirectional gazes and hybrid practices that borrow from and inspire one other, in sometimes troubling ways., I warmly welcome Behdad's book on the historical techniques and political protocols of photography in the realization of Orientalist visual culture. Can we make any argument about the impact of colonization on modernity--post-, contra-, or plural--without exploring the profound influence of the techne of the photograph on the affective and ethical networks that have made the Middle East a crucial hub of global knowledge? This excellent contribution provides us with a crucial resource for understanding the regional conditions and cosmopolitical implications of an art that reveals what is hidden and submerged while mirroring the social and psychic salience of surface and frame., I warmly welcome Behdad's book on the historical techniques and political protocols of photography in the realization of Orientalist visual culture. Can we make any argument about the impact of colonization on modernity--post-, contra-, or plural--without exploring the profound influence of the techne of the photograph on the affective and ethical networks that have made the Middle East a crucial hub of global knowledge? This excellent contribution provides us with a crucial resource for understanding the regional conditions and cosmopolitical implications of an art that reveals what is hidden and submerged while mirroring the social and psychic salience of surface and frame., Behdad's original achievement in Camera Orientalis is his assessment of Iranian Orientalist imagery. . . . Camera Orientalis is a stimulating text that follows networks of Orientalist photographs--how they traveled across borders and through time, shaping popular consciousness., Behdad maps an important position in debates about the political efficacy of photographs. Rightly insisting on the centrality of 'the Orient' to early practitioners, he redirects our vision to the formative role of the camera in the uneasy careers of Europe's empires. The contact zones created by the embrace of photography by local elites provide a rich counterpoint, revealing not 'resistance' but the vivid realization that the camera's 'image repertoires' were a conduit to power. This is a salutary contribution to the study of photography as a global practice, one that has always exceeded Europe and the narrow confines of nation states., Behdad maps an important position in debates about the political efficacy of photographs. Rightly insisting on the centrality of 'the Orient' to early practitioners, he redirects our vision to the formative role of the camera in the uneasy careers of Europe's empires. The contact zones created by the embrace of photography by local elites provide a rich counterpoint, revealing not 'resistance' but the vivid realization that the camera's 'image repertoires' were a conduit to power. This is a salutary contribution to the study of photography as a global practice, one that has always exceeded Europe and the narrow confines of nation-states.
Dewey Edition
23
Dewey Decimal
770.956
Table Of Content
List of Illustrations Acknowledgments Introduction: Camera Orientalis 1 The Orientalist Photograph 2 The Tourist, the Collector, and the Curator: On the Lives and Afterlives of Ottoman-Era Photography 3 The Politics of Resident Photography in the Middle East: Reflections on Antoin Sevruguin's Photographs of Qajar-Era Iran 4 In My Grandfather's Darkroom: On Photographic (Self-) Exoticism in the Middle East 5 Local Representations of Power: On Royal Portrait Photography in Iran Afterword: On Photography and Neo-Orientalism Today Notes Bibliography Index
Synopsis
In the decades after its invention in 1839, photography was inextricably linked to the Middle East. Introduced as a crucial tool for Egyptologists and Orientalists who needed to document their archaeological findings, the photograph was easier and faster to produce in intense Middle Eastern light--making the region one of the original sites for the practice of photography. A pioneering study of this intertwined history, Camera Orientalis traces the Middle East's influences on photography's evolution, as well as photography's effect on Europe's view of "the Orient." Considering a range of Western and Middle Eastern archival material from the late nineteenth and early twentieth centuries, Ali Behdad offers a rich account of how photography transformed Europe's distinctly Orientalist vision into what seemed objective fact, a transformation that proved central to the project of European colonialism. At the same time, Orientalism was useful for photographers from both regions, as it gave them a set of conventions by which to frame exotic Middle Eastern cultures for Western audiences. Behdad also shows how Middle Eastern audiences embraced photography as a way to foreground status and patriarchal values while also exoticizing other social classes. An important examination of previously overlooked European and Middle Eastern photographers and studios, Camera Orientalis demonstrates that, far from being a one-sided European development, Orientalist photography was the product of rich cultural contact between the East and the West., From the time of its invention in 1839, photography had a crucial link to the Middle East. When Daguerre's invention was introduced, it was immediately hailed as a boon to Egyptologists and Orientalists wanting to document their archeological findings. The Middle East also beckoned European experimenters in this new medium for a simple technological reason: early photographs were more quickly and easily made in the intense light of the desert than in gloomy Paris or London. In "Camera Orientalis," Ali Behdad examines the cultural and political implications of the emergence of photography in the Middle East. He shows that the camera proved useful to Orientalism, but so too was Orientalism useful to photographers, because it gave them a set of conventions by which to frame these exotic cultures in images for Western audiences. Behdad breaks with standard postcolonial approaches by showing that Orientalist photography was the product of contacts between the West and the East. Indeed, local photographers participated enthusiastically in exoticist representations of the region, adapting Orientalism to the taste of the local elite. Orientalist photography, we learn, was not a one-way street but rather the product of ideas and conventions that circulated between the West and the East.
LC Classification Number
TR114.B44 2016
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- u***d (374)- Bewertung vom Käufer.Letzter MonatBestätigter KaufVery good, thank you!
- o***j (194)- Bewertung vom Käufer.Letzter MonatBestätigter KaufNice volume. Well packaged.
- Évaluations automatiques eBay- Bewertung vom Käufer.Letzter MonatCommande livrée dans les délais et sans problème