In Listening to Images Tina M. Campt explores a way of listening closely to photography, engaging with lost archives of historically dismissed photographs of black subjects taken throughout the black diaspora. Engaging with photographs through sound, Campt looks beyond what one usually sees and attunes her senses to the other affective frequencies through which these photographs register. She hears in these photos-which range from late nineteenth-century ethnographic photographs of rural African women and photographs taken in an early twentieth-century Cape Town prison to postwar passport photographs in Birmingham, England and 1960s mug shots of the Freedom Riders-a quiet intensity and quotidian practices of refusal. Originally intended to dehumanize, police, and restrict their subjects, these photographs convey the softly buzzing tension of colonialism, the low hum of resistance and subversion, and the anticipation and performance of a future that has yet to happen. Engaging with discourses of fugitivity, black futurity, and black feminist theory, Campt takes these tools of colonialism and repurposes them, hearing and sharing their moments of refusal, rupture, and imagination.

Since the Middle Ages, Africans have lived in Germany as slaves and scholars, guest workers and refugees. After Germany became a unified nation in 1871, it acquired several African colonies but lost them after World War I. Children born of German mothers and African fathers during the French occupation of Germany were persecuted by the Nazis. After World War II, many children were born to African American GIs stationed in Germany and German mothers. Today there are 500,000 Afro-Germans in Germany out of a population of 80 million. Nevertheless, German society still sees them as "foreigners," assuming they are either African or African American but never German. In recent years, the subject of Afro-Germans has captured the interest of scholars across the humanities for several reasons. Looking at Afro-Germans allows us to see another dimension of the nineteenth- and early twentieth-century ideas of race that led to the Holocaust. Furthermore, the experience of Afro-Germans provides insight into contemporary Germany's transformation, willing or not, into a multicultural society. The volume breaks new ground not only by addressing the topic of Afro-Germans but also by combining scholars from many disciplines. Patricia Mazon is Associate Professor in the Department of History at the State University of New York at Buffalo. Reinhild Steingrover is Assistant Professor in the Department of Humanities at the Eastman School of Music at the University of Rochester.

An exploration of the subject of Afro-Germans, which, in recent years has captured the interest of scholars across the humanities for providing insight into contemporary Germany's transformation into a multicultural society. Since the Middle Ages, Africans have lived in Germany as slaves and scholars, guest workers and refugees. After Germany became a unified nation in 1871, it acquired several African colonies but lost them after World War I. Children born of German mothers and African fathers during the French occupation of Germany were persecuted by the Nazis. After World War II, many children were born to African American GIs stationed in Germany and German mothers. Today there are 500,000 Afro-Germans in Germany out of a population of 80 million. Nevertheless, German society still sees them as "foreigners," assuming they are either African or African American but never German. In recent years, the subject of Afro-Germans has captured the interest of scholars across the humanities for several reasons. Looking at Afro-Germans allows us to see another dimension of the nineteenth- and early twentieth-century ideas of race that led to the Holocaust. Furthermore, the experience of Afro-Germans provides insight into contemporary Germany's transformation, willing or not, into a multicultural society. The volume breaks new ground not onlyby addressing the topic of Afro-Germans but also by combining scholars from many disciplines. Patricia Mazon is Associate Professor in the Department of History at the State University of New York at Buffalo. Reinhild Steingrover is Assistant Professor in the Department of Humanities at the Eastman School of Music at the University of Rochester.

In Image Matters, Tina M. Campt traces the emergence of a black European subject by examining how specific black European communities used family photography to create forms of identification and community. At the heart of Campt's study are two photographic archives, one composed primarily of snapshots of black German families taken between 1900 and 1945, and the other assembled from studio portraits of West Indian migrants to Birmingham, England, taken between 1948 and 1960. Campt shows how these photographs conveyed profound aspirations to forms of national and cultural belonging. In the process, she engages a host of contemporary issues, including the recoverability of non-stereotypical life stories of black people, especially in Europe, and their impact on our understanding of difference within diaspora; the relevance and theoretical approachability of domestic, vernacular photography; and the relationship between affect and photography. Campt places special emphasis on the tactile and sonic registers of family photographs, and she uses them to read the complexity of "race" in visual signs and to highlight the inseparability of gender and sexuality from any analysis of race and class. Image Matters is an extraordinary reflection on what vernacular photography enabled black Europeans to say about themselves and their communities.

In Listening to Images Tina M. Campt explores a way of listening closely to photography, engaging with lost archives of historically dismissed photographs of black subjects taken throughout the black diaspora. Engaging with photographs through sound, Campt looks beyond what one usually sees and attunes her senses to the other affective frequencies through which these photographs register. She hears in these photos—which range from late nineteenth-century ethnographic photographs of rural African women and photographs taken in an early twentieth-century Cape Town prison to postwar passport photographs in Birmingham, England and 1960s mug shots of the Freedom Riders—a quiet intensity and quotidian practices of refusal. Originally intended to dehumanize, police, and restrict their subjects, these photographs convey the softly buzzing tension of colonialism, the low hum of resistance and subversion, and the anticipation and performance of a future that has yet to happen. Engaging with discourses of fugitivity, black futurity, and black feminist theory, Campt takes these tools of colonialism and repurposes them, hearing and sharing their moments of refusal, rupture, and imagination.