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This volume considers the meaning and power of images in African history and culture. It assembles a wide-ranging collection of essays dealing with specific visual forms, including monuments cinema, cartoons, domestic and professional photography, body art, world fairs, and museum exhibits.
Images of Africa offers a rare insight into the historical and cultural processes through which the various negative perceptions and stereotypes of Africa were deliberately created, and which the continent has struggled to shake off.
White on Black is a compelling visual history of the development of European and American stereotypes of black people over the last two hundred years. Its purpose is to show the pervasiveness of prejudice against blacks throughout the western world as expressed in stock-in-trade racist imagery and caricature. Reproducing a wide range of illustrations--from engravings and lithographs to advertisements, candy wrappings, biscuit tins, dolls, posters, and comic strips--the book challenges the hidden assumptions of even those who view themselves as unprejudiced. Jan Nederveen Pieterse sets Western images of Africa and blacks in a chronological framework, including representations from medieval times, from the colonial period with its explorers, settlers, and missionaries, from the era of slavery and abolition, and from the multicultural societies of the present day. Pieterse shows that blacks have been routinely depicted throughout the West as servants, entertainers, and athletes, and that particular countries have developed their own comforting black stereotypes about blacks: Sambo and Uncle Tom in the United States, Golliwog in Britain, Bamboula in France, and Black Peter in the Netherlands. Looking at conventional portrayals of blacks in the nursery, in sexual arenas, and in commerce and advertising, Pieterse analyzes the conceptual roots of the stereotypes about them. The images that he presents have a direct and dramatic impact, and they raise questions about the expression of power within popular culture and the force of caricature, humor, and parody as instruments of oppression.
Africa’s Media Image in the 21st Century is the first book in over twenty years to examine the international media’s coverage of sub-Saharan Africa. It brings together leading researchers and prominent journalists to explore representation of the continent, and the production of that image, especially by international news media. The book highlights factors that have transformed the global media system, changing whose perspectives are told and the forms of media that empower new voices. Case studies consider questions such as: how has new media changed whose views are represented? Does Chinese or diaspora media offer alternative perspectives for viewing the continent? How do foreign correspondents interact with their audiences in a social media age? What is the contemporary role of charity groups and PR firms in shaping news content? They also examine how recent high profile events and issues been covered by the international media, from the Ebola crisis, and Boko Haram to debates surrounding the "Africa Rising" narrative and neo-imperialism. The book makes a substantial contribution by moving the academic discussion beyond the traditional critiques of journalistic stereotyping, Afro-pessimism, and ‘darkest Africa’ news coverage. It explores the news outlets, international power dynamics, and technologies that shape and reshape the contemporary image of Africa and Africans in journalism and global culture.
Images of Africa challenges the widely-held idea that Africans are powerless in the creation of self-image. It explores the ways in which image creation is a process of negotiation entered into by a wide range of actors within and beyond the continent – in presidents’ offices and party HQs, in newsrooms and rural authorities, in rebel militia bases and in artists’ and writers’ studies. Its ten chapters, written by scholars working across the continent and a range of disciplines, develop innovative ways of thinking about how image is produced. They ask: who controls image, how is it manipulated, and what effects do the images created have, for political leaders and citizens, and for Africa’s relationships with the wider world. The answers to these questions provide a compelling and distinctive approach to Africa’s positioning in the world, establishing the dynamic, relational and sometimes subversive nature of image.
This is an exploration of the function of photography in Central Africa. It explores and links two related themes: the role of photographic images in constructing and circulating fantasies, ideas and sentiments in Europe and the US relating to peoples of Central Africa; and the role of photography in enabling Africans to project and create images of themselves during encounters with foreign photographers. The publications is devoted to the holdings of the Eliot Eliofson Photographic Archives, a department of the National Museum of African Art, USA, a repository of more than 200, 000 historical and contemporary images from all over Africa.
This book accompanies an exhibition at the National Museum of African Art, Smithsonian Institution, on the role of photography in Central Africa. This is the first book to link two related themes: the role of photographic images in constructing and circulating fantasies, ideas, and sentiments in Europe and the US relating to the peoples of Central Africa; and the role of photography in enabling Africans to project images of themselves by becoming familiar with photographic technology. Broad in thematic and temporal scope, the book focuses on several time periods, especially on the years before and between the two world wars. This is also the first publication devoted to the important holdings of the Eliot Elisofen Photographic Archives, a department of the National Museum of African Art, Smithsonian Institution and a unique repository with more than 200,000 historical and contemporary images from all over Africa. This book raises important issues associated with photographic practice in Africa, the distribution of images, the circulation of ideas in Europe and the US, and African responses to photography through several poignant case studies. This book also advances the scholarly discourse on colonial/anthropological photography, and contributes to a better understanding of African responses to photography.
This volume considers the meaning and power of images in African history and culture. It assembles a wide-ranging collection of essays dealing with specific visual forms, including monuments cinema, cartoons, domestic and professional photography, body art, world fairs, and museum exhibits.