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This edited collection presents the first critical and historical overview of photography in Portuguese colonial Africa to an English-speaking audience. Photography in Portuguese Colonial Africa, 1860–1975 brings together sixteen scholars from interdisciplinary fields as varied as history, anthropology, art history, visual culture and museum studies, to consider some of the key aspects in the visual representation of the longest-lasting European colonial empire in the African continent. The chapters span over two centuries and cover five formerly colonial territories – Angola, Cabo Verde, Guinea-Bissau, Mozambique, and São Tomé and Príncipe – deploying a range of methodologies to explore the multiple meanings and the contested uses of the photographic image across the realms of politics, science, culture and war. This book responds to a marked surge of international interest in the relationship between photography and colonialism, which has hitherto largely overlooked the Portuguese imperial context, by delivering the most recent scholarly findings to a broad readership.
It is now widely recognised that a Cold War perspective falls short in unfolding the complex geographies of connections and the multipolarity of actions and transactions that were shaped through the movement of individuals and ideas from Africa to the "East" and from the "East" to Africa in the decades in which African countries moved to independence. Adopting an interdisciplinary, transregional perspective, this volume casts new light on aspects of the role of Eastern Europe and the Soviet Union in the decolonisation of Africa. Taking further themes explored in a collection of essays published by the editors in 2019, the twelve case studies by authors from South Africa, Czech Republic, Portugal, Russia, Hungary, Italy, Canada, Serbia, and Germany draw on new sources to explore the history of the ties that existed between African liberation movements and the socialist bloc, some of which continue to influence relationships today. Chapters contribute to three relevant main themes that resonate in a number of scholarly fields of inquiry, ranging from Global Studies, Transregional Studies, Cold War Studies, (Global) History to African Studies, Eastern European, Russian and Slavic Studies: Reconsiderations, Resources, and Reverberations. Drawing upon newly opened archives and combining transregional perspectives with sources in different languages, chapters explicitly point out the shortcomings of past research and debates in the respective field. They highlight new avenues which have been developing and which need to be further developed (Reconsiderations). Selected case studies address the resources of those being active and involved in decolonisation processes, be it in East, North, West and South. They reveal: Which resources (both material and intellectual) are the actors drawing upon? On the other hand: From which resources are individuals on one side or the other reciprocally or intermittently (intentionally) kept away? (Resources). Finally, the third theme puts an emphasis on the historicity of the processes depicted. Studies point to the gaps and dead ends of international support, the paths that peter out, but also to repercussions and reverberations up until today. (Reverberations) Taken these three themes together, the individual chapters contribute to the overall question of: Which general historical narratives about the second half of the 20th century are changing based on these new research findings?
French colonisers of the Third Republic claimed not to oppress but to liberate, imagining they were spreading republican ideals to the colonies to make a Greater France. In this book Simon Dell explores the various roles played by portraiture in this colonial imaginary. Anyone interested in the history of colonial Africa will have encountered innumerable portraits of African elites produced during the first half of the twentieth century, yet no book to date has focused on these ubiquitous images. Dell analyses the production and dissemination of such portraits and situates them in a complex and conflicted field of representations. Moving between European and African perspectives, The Portrait and the Colonial Imaginary blends history with art history to provide insights into the larger processes that were transforming the French metropole and colonies during the early twentieth century. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).
The new edition of Historical Dictionary of Mozambique covers the Bantu expansion; the arrival of the Portuguese navigators and their str competition with local African power centers and coastal Arab-Swahili trading towns; the trade cycles of gold, ivory, and slaves; the establishment of the semi-Africanized prazos along the Zambezi Valley; “pacification” campaigns; and the period of Portuguese weakness in the late 19th and early 20th centuries when vast tracts of land were rented to concessionary companies. In the late colonial period the Salazar dictatorship tried to reassert Portuguese power, but after ten years of armed struggle for national liberation, Mozambique gained its independence in 1975. The book contains a chronology, an introduction, appendixes, and an extensive bibliography. The dictionary section has over 600 cross-referenced entries on important personalities, politics, economy, foreign relations, religion, and culture. This book is an excellent resource for students, researchers, and anyone wanting to know more about Mozambique.
J. A. Green (1873 1905) was one of the most prolific and accomplished indigenous photographers to be active in West Africa. This beautiful book celebrates Green s photographs and opens a new chapter in the early photographic history of Africa. Soon after photography reached the west coast of Africa in the 1840s, the technology and the resultant images were disseminated widely, appealing to African elites, European residents, and travelers to the region. Responding to the need for more photographs, expatriate and indigenous photographers began working along the coasts, particularly in major harbor towns. Green, whose identity remained hidden behind his English surname, maintained a photography business in Bonny along the Niger Delta. His work covered a wide range of themes including portraiture, scenes of daily and ritual life, commerce, and building. Martha G. Anderson, Lisa Aronson, and the contributors have uncovered 350 of Green s images in archives, publications, and even albums that celebrated colonial achievements. This landmark book unifies these dispersed images and presents a history of the photographer and the area in which he worked. "
Highlights the role of photography and other forms of aesthetic practice in processes of state formation and bureaucratic transition
This book offers a range of perspectives on photography in Africa, bringing research on South African photography into conversation with work from several other places on the continent, including Angola, the DRC, Kenya, Mali, Morocco, Nigeria, Ethiopia, and Eritrea. The collection engages with the history of photography and its role in colonial regulatory regimes; with social documentary photography and practices of self-representation; and with the place of portraits in the production of subjectivities, as well as contemporary and experimental photographic practices. Through detailed analyses of particular photographs and photographic archives, the chapters in this book trace how photographs have been used both to affirm colonial worldviews and to disrupt and critique such forms of power. This book was originally published as a special issue of Social Dynamics.
Photographers and their images were critical to the making of Mozambique, first as a colony of Portugal and then as independent nation at war with apartheid in South Africa. When the Mozambique Liberation Front came to power, it invested substantial human and financial resources in institutional structures involving photography, and used them to insert the nation into global debates over photography's use. The materiality of the photographs created had effects that neither the colonial nor postcolonial state could have imagined. Filtering Histories: The Photographic Bureaucracy in Mozambique, 1960 to Recent Times tells a history of photography alongside state formation to understand the process of decolonization and state development after colonial rule. At the center of analysis are an array of photographic and illustrated materials from Mozambique, South Africa, Portugal, and Italy. Thompson recreates through oral histories and archival research the procedures and regulations that engulfed the practice and circulation of photography. If photographers and media bureaucracy were proactive in placing images of Mozambique in international news, Mozambicans were agents of self-representation, especially when it came to appearing or disappearing before the camera lens. Drawing attention to the multiple images that one published photograph may conceal, Filtering Histories introduces the popular and material formations of portraiture and photojournalism that informed photography's production, circulation, and archiving in a place like Mozambique. The book reveals how the use of photography by the colonial state and the liberation movement overlapped, and the role that photography played in the transition of power from colonialism to independence.