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Photography and American Coloniality: Eliot Elisofon in Africa, 1942–1972
Michigan State University Press, 2017 eISBN: 978-1-62896-288-8 | Cloth: 978-1-61186-236-2 Library of Congress Classification TR140.E4G73 2017 Dewey Decimal Classification 770.96
ABOUT THIS BOOK | AUTHOR BIOGRAPHY | REVIEWS | TOC | REQUEST ACCESSIBLE FILE
ABOUT THIS BOOK
This book is the first to question both why and how the colonialist mythologies represented by the work of photographer Eliot Elisofon persist. It documents and discusses a heterogeneous practice of American coloniality of power as it explores Elisofon’s career as war photographer-correspondent and staff photographer for LIFE, filmmaker, author, artist, and collector of “primitive art” and sculpture. It focuses on three areas: Elisofon’s narcissism, voyeurism, and sexism; his involvement in the homogenizing of Western social orders and colonial legacies; and his enthused mission of “sending home” a mass of still-life photographs, annexed African artifacts, and assumed vintage knowledge. The book does not challenge his artistic merit or his fascinating personality; what it does question is his production and imagining of “difference.” As the text travels from World War II to colonialism, postcolonialism, and the Cold War, from Casablanca to Leopoldville (Kinshasa), it proves to be a necessarily strenuous and provocative trip. See other books on: Description and travel | Individual Photographers | Monographs | Photography | Photojournalists See other titles from Michigan State University Press |
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Photography and American Coloniality: Eliot Elisofon in Africa, 1942–1972
ABOUT THIS BOOK | AUTHOR BIOGRAPHY | REVIEWS | TOC | REQUEST ACCESSIBLE FILE
Michigan State University Press, 2017
eISBN: 978-1-62896-288-8
Cloth: 978-1-61186-236-2
eISBN: 978-1-62896-288-8
Cloth: 978-1-61186-236-2
This book is the first to question both why and how the colonialist mythologies represented by the work of photographer Eliot Elisofon persist. It documents and discusses a heterogeneous practice of American coloniality of power as it explores Elisofon’s career as war photographer-correspondent and staff photographer for LIFE, filmmaker, author, artist, and collector of “primitive art” and sculpture. It focuses on three areas: Elisofon’s narcissism, voyeurism, and sexism; his involvement in the homogenizing of Western social orders and colonial legacies; and his enthused mission of “sending home” a mass of still-life photographs, annexed African artifacts, and assumed vintage knowledge. The book does not challenge his artistic merit or his fascinating personality; what it does question is his production and imagining of “difference.” As the text travels from World War II to colonialism, postcolonialism, and the Cold War, from Casablanca to Leopoldville (Kinshasa), it proves to be a necessarily strenuous and provocative trip.
ABOUT THIS BOOK | AUTHOR BIOGRAPHY | REVIEWS | TOC | REQUEST ACCESSIBLE FILE
