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Book Description




The 1857 Indian Uprising and the Politics of Commemoration


Book Description

The Cawnpore Well, Lucknow Residency, and Delhi Ridge were sacred places within the British imagination of India. Sanctified by the colonial administration in commemoration of victory over the 'Sepoy Mutiny' of 1857, they were read as emblems of empire which embodied the central tenets of sacrifice, fortitude, and military prowess that underpinned Britain's imperial project. Since independence, however, these sites have been rededicated in honour of the 'First War of Independence' and are thus sacred to the memory of those who revolted against colonial rule, rather than those who saved it. The 1857 Indian Uprising and the Politics of Commemoration tells the story of these and other commemorative landscapes and uses them as prisms through which to view over 150 years of Indian history. Based on extensive archival research from India and Britain, Sebastian Raj Pender traces the ways in which commemoration responded to the demands of successive historical moments by shaping the events of 1857 from the perspective of the present. By telling the history of India through the transformation of mnemonic space, this study shows that remembering the past is always a political act.




India


Book Description

After the public announcement of the invention of the camera in 1839, photography spread swiftly round the world, and by the early 1850s the medium had become well-established in the Indian subcontinent. In a land characterised by the variety and splendour of its architecture and landscapes, and the diversity of its peoples and customs, India offered the photographic artist an unsurpassed range of subject matter. In addition to the artistic achievements of international masters of photography like Dr John Murray and Samuel Bourne, official encouragement of the medium as a documentary tool came from the East India Company. By the mid-1850s a remarkable visual 'archive' had been created, which charted the architectural heritage and ethnic composition of the subcontinent. This book, which accompanied a major exhibition of 19th century images from India, traces the development of photography from 1850 to 1900, when the ascendency of the large format camera and print began to crumble in the face of the simplified amateur camera. Drawn from the collections of the British Library, and Howard and Jane Ricketts, the book is illustrated with some of the finest photographs produced in India during the latter half of the nineteenth century, many never previously reproduced.




The Art of Stereography


Book Description

Three-dimensional stereoviews were wildly popular in the mid-19th century. Yet public infatuation fueled highbrow scorn, and even when they fell from favor, critics retained their disdain. Thus a dazzling body of photographic work has unjustly been buried. This book explores how compelling images were made by carefully combining subject matter, composition, lighting, tonality, blocking and depth. It draws upon the fine arts, the mass media, humanities, history, and even geology. Throughout, overlooked photographers are celebrated, such as the one who found extraordinary visual parallels within nature, anticipating Cezanne and Seurat--or the one who refused to play favorites during a bitter war and found humanity on both sides--or the one who took a favorite American glen and found menace all about. Stereographers were actually more like film directors or television producers than large format photographers: the best ones fused artistry with commercial appeal.




Afterimage of Empire


Book Description

How the colonial photograph revolutionized the very nature of perception







Camera Indica


Book Description

Pinney identifies three key moments In Indian portraiture: the use of photography as a quantifiable instrument of measurement under British rule, the role of portraiture in moral instruction, and the current visual style of popular culture and its effects on modes of picturing. Photographic culture thus becomes a mutable realm in which capturing likeness is only part of the project. Today, Indian images are characterized by a distinctive postcolonial photographic practice, which involves sophisticated inventiveness and techniques such as overpainting, collage, composite printing and doubling. Contemporary portraits that showcase these techniques rely as well on elaborate backdrops and props such as motorbikes to construct an endless variety of identities, challenging the prior use of photography as documentation and description.