2010
DOI: 10.1080/03087290903361522
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Cine-film, Film-strips and the Devolution of Colonial Photography in The Gambia

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Cited by 6 publications
(6 citation statements)
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“…In turn, the participation of these photographers in colonial public relations formed part of a wider increase in the participation of Gambian colonial subjects in the governmental and civic life of the colony. The photographs depict new forms of participation at events such as parades, sporting affairs, the visits of dignitaries, and the opening of legislative sessions (Buckley ).…”
Section: Methods and Contextmentioning
confidence: 99%
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“…In turn, the participation of these photographers in colonial public relations formed part of a wider increase in the participation of Gambian colonial subjects in the governmental and civic life of the colony. The photographs depict new forms of participation at events such as parades, sporting affairs, the visits of dignitaries, and the opening of legislative sessions (Buckley ).…”
Section: Methods and Contextmentioning
confidence: 99%
“…Furthermore, some of them were related to people who had served, from the mid‐1930s onward, on the Cinematograph Board of Control. This board had advised the colony's administration on matters related to visual media and reviewed all imported imagery including still photographs, films, posters, and advertising material (Buckley , 149). These people would have been children aged five to ten when the photographs were taken, and in their early twenties at independence.…”
Section: Methods and Contextmentioning
confidence: 99%
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“…The first relates to the ways in which, from the establishment of colonial rule onwards, successive administrations often used photography as a means for making visible their future goals for the country. Most notably, from the time when Europeans first arrived in the late nineteenth century, they frequently employed or commissioned photographers to extensively picture official opening ceremonies, new civic buildings and modern institutions (such as schools, hospitals and prisons), and other ‘examples of “progress”’ (Buckley 2010: 147; cf. Vokes 2012b).…”
Section: Signs Of Developmentmentioning
confidence: 99%
“…In other words – and as a growing body of recent scholarship has highlighted – their efforts to dominate the photographic domain were always and everywhere undermined by other kinds of photographic practices that were going on at the same time, and that in many cases were antithetical to their state-building projects. For example, Liam Buckley's work in the Gambia has highlighted how, from the start of colonial rule, government-employed photographers would frequently also conduct their own private or commercial photographic work ‘on the side’ – the products of which often presented a quite different view from the official line on the nature of the colony's ‘progress’ (2010: 147–8; see also Haney 2010). Similarly, Jennifer Bajorek's work in Senegal has shown how, throughout the late-colonial period in particular, state-sponsored studios also produced their own images, which later became central to a nascent iconography of African nationalism (2010).…”
mentioning
confidence: 99%