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020 _a9780271082486
_qPDF
024 7 _a10.1515/9780271082486
_2doi
035 _a(DE-B1597)9780271082486
035 _a(DE-B1597)583717
035 _a(OCoLC)1269268319
040 _aDE-B1597
_beng
_cDE-B1597
_erda
050 4 _aTR679.5
_b.S54 2018eb
072 7 _aPHO010000
_2bisacsh
082 0 4 _a770
_223
084 _aonline - DeGruyter
100 1 _aSheehan, Tanya
_eautore
245 1 0 _aStudy in Black and White :
_bPhotography, Race, Humor /
_cTanya Sheehan.
264 1 _aUniversity Park, PA :
_bPenn State University Press,
_c[2021]
264 4 _c©2018
300 _a1 online resource (216 p.) :
_b80 color/12 b&w illustrations
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
505 0 0 _tFrontmatter --
_tContents --
_tIllustrations --
_tAcknowledgments --
_tIntroduction --
_t1. Strange Effects and Photographic Pleasures: Race, Science, and Early Photography --
_t2. The Darkey Photographer: Camera Comedy and the Minstrel Stage --
_t3. Look Pleasant, Please! A Social History of the Photographic Smile --
_t4. Writing the Self Through Others: Racial Humor and the Photographic Postcard --
_t5. Revival and Subversion: Snapshot Performances from Kodak to Kara Walker --
_tNotes --
_tSelected Bibliography --
_tIndex
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aIn this volume, Tanya Sheehan takes humor seriously in order to trace how photographic comedy was used in America and transnationally to express evolving ideas about race, black emancipation, and civil rights in the mid-1800s and into the twentieth century.Sheehan employs a trove of understudied materials to write a new history of photography, one that encompasses the rise of the commercial portrait studio in the 1840s, the popularization of amateur photography around 1900, and the mass circulation of postcards and other photographic ephemera in the twentieth century. She examines the racial politics that shaped some of the most essential elements of the medium, from the negative-positive process to the convention of the photographic smile. The book also places historical discourses in relation to contemporary art that critiques racism through humor, including the work of Genevieve Grieves, Adrian Piper, Lorna Simpson, Kara Walker, and Fred Wilson. By treating racial humor about and within the photographic medium as complex social commentary, rather than a collectible curiosity, Study in Black and White enriches our understanding of photography in popular culture. Transhistorical and interdisciplinary, this book will be of vital interest to scholars of art history and visual studies, critical race studies, U.S. history, and African American studies.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 29. Nov 2021)
650 0 _aEthnic wit and humor
_xHistory.
650 0 _aPhotography
_xSocial aspects
_xHistory.
650 0 _aPhotography, Humorous
_xHistory.
650 7 _aPhotography / History.
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.1515/9780271082486?locatt=mode:legacy
856 4 0 _uhttps://www.degruyter.com/isbn/9780271082486
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9780271082486/original
942 _cEB
999 _c187496
_d187496