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001 187637
003 IT-RoAPU
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020 _a9780271089287
_qPDF
024 7 _a10.1515/9780271089287
_2doi
035 _a(DE-B1597)9780271089287
035 _a(DE-B1597)583648
035 _a(OCoLC)1262308223
040 _aDE-B1597
_beng
_cDE-B1597
_erda
072 7 _aPHO010000
_2bisacsh
082 0 4 _a771
084 _aonline - DeGruyter
100 1 _aBear, Jordan
_eautore
245 1 0 _aDisillusioned :
_bVictorian Photography and the Discerning Subject /
_cJordan Bear.
264 1 _aUniversity Park, PA :
_bPenn State University Press,
_c[2021]
264 4 _c©2015
300 _a1 online resource (216 p.)
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
505 0 0 _tFrontmatter --
_tContents --
_tList of Illustrations --
_tAcknowledgments --
_tIntroduction: The History of Photography and the Problem of Knowledge --
_tOne See for Yourself: Visual Discernment and Photography’s Appearance --
_tTwo Shadowy Organization: Combination Photography, Illusion, and Conspiracy --
_tThree Same Time Tomorrow: Serial Photographs and the Structure of Industrial Vision --
_tFour Hand in Hand: Gender and Collaboration in Victorian Photography --
_tFive Signature Style: Francis Frith and the Rise of Corporate Photographic Authorship --
_tSix Indistinct Relics: Discerning the Origins of Photography --
_tSeven The Limits of Looking: The Tiny, Distant, and Rapid Subjects of Photography --
_tConclusion: “Normal” Photography: The Legacy of a History --
_tNotes --
_tBibliography --
_tIndex
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aHow do photographs compel belief and endow knowledge? To understand the impact of photography in a given era, we must study the adjacent forms of visual persuasion with which photographs compete and collaborate. In photography’s early days, magic shows, scientific demonstrations, and philosophical games repeatedly put the visual credulity of the modern public to the test in ways that shaped, and were shaped by, the reality claims of photography. These venues invited viewers to judge the reliability of their own visual experiences. Photography resided at the center of a constellation of places and practices in which the task of visual discernment—of telling the real from the constructed—became an increasingly crucial element of one’s location in cultural, political, and social relations. In Disillusioned: Victorian Photography and the Discerning Subject, Jordan Bear tells the story of how photographic trickery in the 1850s and 1860s participated in the fashioning of the modern subject. By locating specific mechanisms of photographic deception employed by the leading mid-century photographers within this capacious culture of discernment, Disillusioned integrates some of the most striking—and puzzling—images of the Victorian period into a new and expansive interpretive framework.
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. Jun 2022)
650 7 _aPhotography / History.
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.1515/9780271089287?locatt=mode:legacy
856 4 0 _uhttps://www.degruyter.com/isbn/9780271089287
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9780271089287/original
942 _cEB
999 _c187637
_d187637