{"title":"Manifest Documentary","authors":"Rijuta Mehta","doi":"10.1353/cj.2023.a910938","DOIUrl":null,"url":null,"abstract":"abstract: This article argues that the symbolic and material power of Manifest Destiny inhered in the norms of documentary photography at Life magazine, particularly in preexisting shooting scripts. An analysis of visual re-takes and narrative fixity in the 1947 photo-essay on the Indian Partition, \"The Great Migration,\" reveals how tropes of US settler colonialism were projected onto distressed refugees in South Asia. The norm of having photographed subjects enact script-image correlation was a revenue-minded colonial action; it absorbed a range of racial differences—South Asian, Black American, and Native American—into the fantasy of postwar US hegemony.","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5000,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"JCMS-Journal of Cinema and Media Studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1353/cj.2023.a910938","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"FILM, RADIO, TELEVISION","Score":null,"Total":0}
引用次数: 0
Abstract
abstract: This article argues that the symbolic and material power of Manifest Destiny inhered in the norms of documentary photography at Life magazine, particularly in preexisting shooting scripts. An analysis of visual re-takes and narrative fixity in the 1947 photo-essay on the Indian Partition, "The Great Migration," reveals how tropes of US settler colonialism were projected onto distressed refugees in South Asia. The norm of having photographed subjects enact script-image correlation was a revenue-minded colonial action; it absorbed a range of racial differences—South Asian, Black American, and Native American—into the fantasy of postwar US hegemony.
摘要:本文认为，《昭昭天命》的象征力量和物质力量根植于《生活》杂志纪实摄影的规范中，尤其是存在于已有的拍摄脚本中。1947年，一篇关于印度分治的摄影文章《大迁徙》(the Great Migration)对视觉再现和叙事固定性进行了分析，揭示了美国殖民主义的隐喻是如何投射到南亚痛苦的难民身上的。让拍摄对象制定脚本-图像相关性的规范是一种注重收入的殖民行为;它将一系列种族差异——南亚人、美国黑人和美洲原住民——吸收到战后美国霸权的幻想中。
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