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This volume addresses new theoretical approaches in visual and
memory studies that prompted to rethink of the photography of
Russian Turkestan of the nineteenth and early twentieth centuries.
Attempts to relate the visual unknown documentations to
postcolonial criticism also opened up new interpretive arenas,
helping to decentralize the analysis of the history of photography.
The aim of this volume is to interpret photography as a specific
tool that reifies reality, subjectively frames it, and fits it into
various political, ideological, commercial, scientific, and
artistic contexts. Without reducing the entire argument to the
binary of 'photography and power', the authors reveal the different
modes of seeing that involve distinct cultural norms, social
practices, power relations, levels of technology, and networks for
circulating photography, and that determined the manner of its
(re)use in constructing various images of Central Asia. The volume
demonstrates that photography was the cornerstone of imperial media
governance and discourse construction in colonial Turkestan of the
tsarist and early Soviet periods. The various cases show the
complex mechanisms by which images of Turkestan were created,
remembered, or forgotten from the nineteenth until the twenty-first
century. The book should appeal to scholars of the Russian Empire
and Central Asia; of history of photography and visual culture; of
memory studies. It should be appropriate for use in upper-level
undergraduate courses, and even a broader public.
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