Photoanthropocene: The decentered lens of colonial photography

IF 1 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Curator: The Museum Journal Pub Date : 2024-01-22 DOI:10.1111/cura.12588
Emma Reisz
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Abstract

Photography—what Barthes called “the living image of a dead thing”—is often overlooked in discussions of cultural heritage decolonization. This paper focuses on a historical photograph attributed to the Hong Kong commercial photographer Lai Fong 黎芳, also known as Afong, that documents the aftermath of the Tianjin massacre of 1870. A photographic print of the image is held in the Robert Hart collection, a little-known collection of historical photographs accumulated by the Irishman Robert Hart during his half-century as an administrator in China. Like many such collections—and like Tianjin itself in the late Qing period—the photography collection resists easy categorization, and sits uneasily between Europe and Asia, Chinese and foreign, imperial and anti-imperial. This essay proposes a “photoanthropocene” perspective, drawing on theoretical writing by Mirzoeff, Zylinska, and others to locate colonial photography within the early anthropocene. The photoanthropocene offers new ways to understand, interpret, and decolonize colonial photography.

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摄影人类:殖民摄影的非中心镜头
摄影--巴特称之为 "死物的活图像"--在文化遗产非殖民化的讨论中常常被忽视。本文重点介绍一张由香港商业摄影师黎芳(又名阿芳)拍摄的历史照片,该照片记录了 1870 年天津大屠杀的后果。罗伯特-哈特作品集》收藏了这张照片的印刷品,这是爱尔兰人罗伯特-哈特在中国担任行政长官的半个世纪中积累的历史照片,鲜为人知。与许多此类藏品一样--就像晚清时期的天津一样--这批摄影作品难以简单归类,在欧洲与亚洲、中国与外国、帝国与反帝国之间徘徊不定。本文提出了 "摄影人类世 "的视角,借鉴米尔佐夫、齐林斯卡等人的理论著作,将殖民时期的摄影作品置于早期人类世之中。摄影人类世提供了理解、解释殖民摄影并使其非殖民化的新方法。
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Curator: The Museum Journal
Curator: The Museum Journal HUMANITIES, MULTIDISCIPLINARY-
CiteScore
1.70
自引率
10.00%
发文量
63
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