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Photography, Identity, and Migration

Controlling Colonial Migrants in Interwar France and Senegal

Johann Le Guelte

seized by colonial authorities—I argue here that photography functioned as an imperial tool of (im)migration control, especially over colonial subjects. Men and women who could not provide the required portrait could be denied papers, and thus be

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Photography as Archive

The Self and Other in Isolation: An Interview with Saiful Huq Omi, followed by The Human that Is Lacking: A response to Saiful Huq Omi's photograph

Yousif M. Qasmiyeh and Saiful Huq Omi

, photographers capture in and under such conditions? Can photography, for instance, photograph itself? Can it, at least, return to its innate interiority when exteriority (in light of these far-reaching lockdowns) is no longer permissible? Saiful Huq Omi (SHO

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Early Field Photography and Visual Documents of Northern Indigenous Cultures

Ivan Poliakov’s Collection, 1876

Ekaterina B. Tolmacheva

Field, and particularly ethnographic and anthropological, photography, began to develop in Russia in the 1870s. A particular surge of interest in visual documentation of culture can be traced back to an ethnographic exhibition held in Moscow in 1867

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The Return of the Republic

Crowd Photography and the Liberation in Toulouse, 1944–1945

Hanna Diamond

A variety of media, written and visual, memorialized the Liberation of France even as it was taking place and immediately thereafter. * Photography, in particular, played a significant role in portraying events both in the press and in the many

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Geographical Imagination, Anthropology, and Political Exiles

Photographers of Siberia in Late Imperial Russia

Tatiana Saburova

, persuading entire villages to pick up and move there in search of a better life. This article focuses on themes connected with the history of photography, exile, science, and representations of Siberia, and is part of a broader discussion about how Asia

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On Photography, History, and Affect

Re-Narrating the Political Life of a Laotian Subject

Panivong Norindr

This essay considers the role of personal, affective history in shaping historiography, and more precisely, a post-colonial history of Laos. Relying on a variety of sources, official and family photographs, US diplomatic documents, telegrams and personal notes, and against the backdrop of multiple losses, this article problematizes the questions of biography and the complex links between the personal and the "historical" by narrating my father's professional trajectory over three decades as a civil servant and career diplomat. Pheng Norindr represented Laos at the 1962 Geneva Conference and became the Laotian envoy to the United Stated during the Vietnam War. His entanglement with French colonialism and Cold War politics offers a point of entry into a Laotian historiography that is critical of a monolithic Western history of Laos.

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A Resolute Display

Culture, Life and Intersectional Identity in Israeli Druze Photography

Lindsey Pullum

/Palestinian photography and visual archives to mobilise the photograph as a form of cultural critique on Israeli visual history and speak back to forms of erasure conducted by the Israeli state after 1948. The decolonial project of photography seeks to make visible the

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Art and Death in French Photographs of Ruins, 1914–1918

Nicole Hudgins

present day. 3 The avalanche of ruin photography in the archives, albums, publications, and propaganda of World War I France challenges us to understand what functions such images fulfilled beyond their use as visual records. Did wartime images of

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Unruly Landscapes and the City of London

Mobility Studies, Street Photography, and Stephen McLaren's The Crash

Susan P. Mains

do not walk off into other hands. Documenting reactions to the financial crises in the City of London during 2008, these images highlight the constantly shifting terrain of street photography and the effect of the tragic/tranquil juxtaposition—a woman

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Looking without Seeing

Visual Literacy in Light of Holocaust Photography

Christophe Busch

Arendt, introduction to Bernd Naumann's Auschwitz 2 In this article I focus on the visual history of Holocaust photography in broader political and educational contexts. My aim is to provide an overview of how the use of Holocaust imagery has evolved