PDF Ebook Photography on the Color Line: W. E. B. Du Bois, Race, and Visual Culture (a John Hope Franklin Center Book)
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Photography on the Color Line: W. E. B. Du Bois, Race, and Visual Culture (a John Hope Franklin Center Book)
PDF Ebook Photography on the Color Line: W. E. B. Du Bois, Race, and Visual Culture (a John Hope Franklin Center Book)
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Review
“Photography on the Color Line should be widely read and widely taught. In this outstanding book, Shawn Michelle Smith has offered not only a spirited reading of a historically important group of photographs but also a methodology and theoretical grounding that are widely applicable even beyond the specific archive of the Du Bois photographs.”—Laura Wexler, author of Tender Violence: Domestic Visions in an Age of U.S. Imperialism“Photography on the Color Line is both a complicated and fascinating read on race, human displays at expositions, and Du Bois’s notion of double consciousness. It is groundbreaking work on the Du Boisian concept of life on the color line.”—Deborah Willis, coauthor of A Small Nation of People: W. E. B. Du Bois and African American Portraits of Progress
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From the Back Cover
""Photography on the Color Line" should be widely read and widely taught. In this outstanding book, Shawn Michelle Smith has offered not only a spirited reading of a historically important group of photographs but also a methodology and theoretical grounding that are widely applicable even beyond the specific archive of the Du Bois photographs."--Laura Wexler, author of "Tender Violence: Domestic Visions in an Age of U.S. Imperialism"
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Product details
Series: a John Hope Franklin Center Book
Paperback: 272 pages
Publisher: Duke University Press Books (June 7, 2004)
Language: English
ISBN-10: 0822333430
ISBN-13: 978-0822333432
Product Dimensions:
5.8 x 0.8 x 9.5 inches
Shipping Weight: 14.1 ounces (View shipping rates and policies)
Average Customer Review:
4.8 out of 5 stars
5 customer reviews
Amazon Best Sellers Rank:
#809,469 in Books (See Top 100 in Books)
This book is about the photographs taken of middle class black people. These photographs were shown at the 1900 Paris Exposition, at the American Negro Exhibit. They are still interesting today, because they show how black people looked and dressed in that era. Also of interest were photographs of blacks who looked more white than black, including a black albino person. I already knew about blacks being raped by whites during slavery, which would render their off-spring mulatto... or looking totally white. I haven't seen many photographs of them though. All of the photographs in this book are superb in quality. I found the text about these photographs to be very informative as well.
Great old-time, Victorian-age photos of Black people in their splendor. Why aren't these images more widely known?
If you are interested in the history of photography and also in African American photographers impact in history this is the book for you. Highly recommend.
The book has 2 very contrasting parts. The first is an analysis of Du Bois' collection of Georgia Negro photographs, that he exhibited at the 1900 Paris Exposition. Several hundred photos. Mostly of middle class American Negroes, well dressed and well posed for the photographer. (Who was not actually Du Bois himself.) The photos tended to show people born after the end of the Civil War and slavery.In that Paris Exposition, Du Bois' offering was a deliberate contrast to the other depictions of Africans, which came from the European empires in Africa. These invariably showed tribal Africans. Backward and ignorant. This was the ideological or racial justification for the White Man's Burden of imperialism. What Du Bois depicted were educated Americans, as an eloquent counterpoint. Here were people of African descent, but otherwise indistinguishable from white middle class Americans or Europeans.Another fillip was the inclusion of light skinned Negroes by Du Bois. As a rejoinder to a strict racial and racist separation promulgated by some whites. In one example, there is a photo of a girl who looked more southern European (think Spaniard or Italian perhaps) than African. Yet to the white mainstream, she would have been irrevocably classified as Negro.The second half of the book studies the lynching photos. Taken by whites at lynchings throughout the American South. Here, Smith takes particulars never to show the grotesqueries of the victims. (Other books adequately do this.) Instead, there is an incisive analysis of the white spectators and participants. We see them preening and guiltless. Many of the photos were in fact used as postcards, sent by the participants to others. While the white ideology of those times depicted Negroes as savages, the book asks, who were the actual savages?
Purchased as a Christmas gift for a cousin, she cannot put it down. Some of the photo matches the ones in her collection. Amazing,
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