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Books > History > World history > 1750 to 1900
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Camera Graeca: Photographs, Narratives, Materialities (Paperback)
Loot Price: R1,352
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Camera Graeca: Photographs, Narratives, Materialities (Paperback)
Series: Publications of the Centre for Hellenic Studies, King's College London
Expected to ship within 12 - 17 working days
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While written sources on the history of Greece have been studied
extensively, no systematic attempt has been made to examine
photography as an important cultural and material process. This is
surprising, given that Modern Greece and photography are almost
peers: both are cultural products of the 1830s, and both actively
converse with modernity. Camera Graeca: Photographs, Narratives,
Materialities fills this lacuna. It is the first inter-disciplinary
volume to examine critically and in a theorised manner the
entanglement of Greece with photography. The book argues that
photographs and the photographic process as a whole have been
instrumental in the reproduction of national imagination, in the
consolidation of the nation-building process, and in the generation
and dissemination of state propaganda. At the same time, it is
argued that the photographic field constitutes a site of memory and
counter-memory, where various social actors intervene actively and
stake their discursive, material, and practical claims. As such,
the volume will be of relevance to scholars and photographers,
worldwide. The book is divided into four, tightly integrated parts.
The first, 'Imag(in)ing Greece', shows that the consolidation of
Greek national identity constituted a material-cum-representational
process, the projection of an imagery, although some photographic
production sits uneasily within the national canon, and may even
undermine it. The second part, 'Photographic narratives,
alternative histories', demonstrates the narrative function of
photographs in diary-keeping and in photobooks. It also examines
the constitution of spectatorship through the combination of text
and image, and the role of photography as a process of
materializing counter-hegemonic discourses and practices. The third
part, 'Photographic matter-realities', foregrounds the role of
photography in materializing state propaganda, national memory, and
war. The final part, 'Photographic ethnographiesa
General
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