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The Self in Black and White: Race and Subjectivity in Postwar American Photography (Interfaces: Studies in Visual Culture), by Erina Duganne
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Review
Choice"The book skillfully unveils and analyzes binary aspects of photographs, such as positive/negative messages and outsider/insider perspectives. . . . Recommended. Choice""The book skillfully unveils and analyzes binary aspects of photographs, such as positive/negative messages and outsider/insider perspectives. . . . Recommended."-- "Choice"
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“Erina Duganne brilliantly illuminates mutually constructed and intersubjective representations of race as it was - or seemed to be - embodied by black subjects in post-WWII documentary work by African American and European American photographers. This is a vivid, vital and exciting book, that opens new avenues for scholarship.” (Laura Wexler, author of Tender Violence: Domestic Visions in an Age of U.S. Imperialism, Professor of American Studies and Women's Gender and Sexuality Studies,Yale University)“In this perceptive and well-argued book, Erina Duganne offers a refreshing take on the politics of race, both cultural and personal, in American photography after World War II. With clarity and grace, it helps us to see the complex social motivations, anxieties, and biases that lie below the surface of seemingly straightforward images.” (Maurice Berger, Senior Research Scholar, University of Maryland, Baltimore County)
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Product details
Series: Interfaces: Studies in Visual Culture
Paperback: 248 pages
Publisher: Dartmouth College Press; 1 edition (February 9, 2010)
Language: English
ISBN-10: 1584658029
ISBN-13: 978-1584658023
Product Dimensions:
8.5 x 0.7 x 9 inches
Shipping Weight: 1.8 pounds (View shipping rates and policies)
Average Customer Review:
5.0 out of 5 stars
1 customer review
Amazon Best Sellers Rank:
#854,615 in Books (See Top 100 in Books)
Erina Duganne's The Self in Black and White: Race and Subjectivity in Postwar American Photography presents a genuinely new idea and points in innovative analytical directions in a well argued, watertight end-run around post-structuralism. Although Duganne does make ample room for subjective, culturally informed reading of images, in every instance she includes the photographer as the a priori subjective producer of images to be read. Tidy, balanced, and very, very good, The Self in Black and White simultaneously rejects essentialism and limits the impact of theory-driven reading of images while revealing its author to be fearless when approaching the subject of race (or rather skin color) and photography. From chapter one, "Beyond the `Negro Point of View': The Kamoinge Workshop's `Harlem' Portfolio," Duganne thoroughly demolishes a politically explosive topic, that there can be a "Negro" (or Caucasian) "Point of View" at all, while maintaining respect for important representational concerns, both historical and philosophical, that underlay such an assertion. To limit visual understanding of an ethnic group to those who share the same line of difference is to create a photographic caste: if only African Americans can portray "black" culture accurately, it follows that only European Americans can portray "white" culture accurately. Duganne sets the stage for her integrationist approach by declaring boldly that the opposite of essentialism is unabashed subjectivity--the first person. Photographs belong to the photographer who makes them, and the creator's honesty and sincerity are far more important attributes in making and reading them than spurious objectivity.
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