Refracted visions : popular photography and national modernity in Java
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Copy number Shelfmark Shelf mark R016417 Ned. Fotomuseum $AMAT STRASSLER.K 2010
TitleRefracted visions : popular photography and national modernity in Java
Author
Iconographic keywords
Place of publicationDurham [N.C.]
PublisherDuke University Press
Year of publication2010
Paginationxx, 375 p.
Illustrationscolour
Dimensions24 x 16 cm.
MaterialTekstboek
Document TypeBook
Series titleObjects/histories : critical perspectives on art, material culture, and representation
ISBN9780822345930082234593597808223461110822346117
Bibliographic NotesIncludes bibliographical references (p. [345]-362) and index.
Subjectamateurfotografie, Maatschappij en fotografie, Sociologie van de fotografie, Inheemse (vernacular) fotografie
Geographical keywordIndonesië
Abstract
We cite from the COVER :
"A YOUNG COUPLE POSES before a painted studio backdrop depicting modern buildings set in a volcanic landscape; a college student grabs his camera as he heads to a political demonstration; a man poses stiffly for his identity photograph; amateur photographers look for picturesque scenes in a rural village; an old woman leafs through a family album. In Refracted Visions, Karen Strassler argues that popular photographic practices such as these have played a crucial role in the making of modern national subjects in postcolonial Java. Popular photographic genres, she contends, cultivate distinctive ways of seeing and positioning oneself and others within the affective, ideological, and temporal terrain of Indonesia.
Oriented to projects of selfhood, memory, and social affiliation, popular photographs recast national iconographies in an intimate register. They convey the longings of Indonesian national modernity: nostalgia for rural idylls and "tradition," desires for the trappings of modernity and affluence, dreams of historical agency, and hopes for political authenticity. Yet photography also brings people into contact with ideas and images that transcend and at times undermine a strictly national frame. As photography's primary practitioners in the postcolonial era, Chinese Indonesian photographers act as cultural brokers who translate global and colonial imageries into national idioms. These members of a transnational minority have helped shape the visual contours of Indonesian belonging even as their own place within the nation remains tenuous. A richly detailed historical ethnography, Refracted Visions illuminates the ways everyday photographic practices generate visual habits that in turn give rise to political subjects and communities."
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CONTENTS :
Introduction : popular photography and Indonesian national modernity --
1. Amateur visions --
2. Landscapes of the imagination -- .
3. Identifying citizens --
4. Family documentation --
5. Witnessing history --
6. Revelatory signs --
Epilogue : beyond the paper trace
notes / bibliography / index
"A YOUNG COUPLE POSES before a painted studio backdrop depicting modern buildings set in a volcanic landscape; a college student grabs his camera as he heads to a political demonstration; a man poses stiffly for his identity photograph; amateur photographers look for picturesque scenes in a rural village; an old woman leafs through a family album. In Refracted Visions, Karen Strassler argues that popular photographic practices such as these have played a crucial role in the making of modern national subjects in postcolonial Java. Popular photographic genres, she contends, cultivate distinctive ways of seeing and positioning oneself and others within the affective, ideological, and temporal terrain of Indonesia.
Oriented to projects of selfhood, memory, and social affiliation, popular photographs recast national iconographies in an intimate register. They convey the longings of Indonesian national modernity: nostalgia for rural idylls and "tradition," desires for the trappings of modernity and affluence, dreams of historical agency, and hopes for political authenticity. Yet photography also brings people into contact with ideas and images that transcend and at times undermine a strictly national frame. As photography's primary practitioners in the postcolonial era, Chinese Indonesian photographers act as cultural brokers who translate global and colonial imageries into national idioms. These members of a transnational minority have helped shape the visual contours of Indonesian belonging even as their own place within the nation remains tenuous. A richly detailed historical ethnography, Refracted Visions illuminates the ways everyday photographic practices generate visual habits that in turn give rise to political subjects and communities."
*
CONTENTS :
Introduction : popular photography and Indonesian national modernity --
1. Amateur visions --
2. Landscapes of the imagination -- .
3. Identifying citizens --
4. Family documentation --
5. Witnessing history --
6. Revelatory signs --
Epilogue : beyond the paper trace
notes / bibliography / index
| Copy number | R016417 |
| Institution name | |
| Shelf mark | $AMAT STRASSLER.K 2010 |