Under Imperial Eyes, Black Bodies, Buttocks, and Breasts: British Colonial Photography and Asante “Fetish Girls”

Engmann, Rachel Ama Asaa

doi:10.1162/afar.2012.45.2.46

Cited by 14 publications

(5 citation statements)

References 21 publications

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“…Indeed, when studying the history of film's precursor, photography, beginning with the Lumière brothers' presentation of the daguerreotype to the Académie des Sciences and the Académie des Beaux-Arts in Paris on August 19, 1839, one notices a striking temporal congruency between the medium's emergence and the reinforcement of colonial structures (Hahn, 2018). Despite their diverse manifestations, colonial photographs from the nineteenth century can be regarded as objects that carry power relations and shape European colonial forms of knowledge (Engmann, 2012). Photography was widely perceived as a "scientific" knowledge production machine, and therefore gladly used as a documentation technology to map terra incognita.…”

Section: Photography Film and The Colonial Gazementioning

confidence: 99%

A Colonial Gaze on Mecca: Networks Surrounding the First Documentary about the Hajj

Reichling

2023

J. Mater. Cult. Muslim World

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The first fully-fledged documentary about the annual Islamic pilgrimage to Mecca was produced in 1928 when the Dutch filmmaker George Krugers (1890–1964) accompanied Muslim pilgrims from the Netherlands East Indies to the Arabian Peninsula. In the late 1920s, when the film project was carried out, an increasing number of Muslims from the archipelago embarked on the hajj journey, which was closely supervised and administered by Dutch colonial institutions. To uncover the “colonial gaze” engrained in the film, this article addresses the filming circumstances, the documentary’s visual content, its intended audiences, and the reception of the moving images in the Netherlands. It draws on Bruno Latour’s actor-network theory, foregrounding the social, political, and technological agents and networks that undergird Krugers’ pioneering film project about the hajj.

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Section: Photography Film and The Colonial Gazementioning

confidence: 99%

A Colonial Gaze on Mecca: Networks Surrounding the First Documentary about the Hajj

Reichling

2023

J. Mater. Cult. Muslim World

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“…For example, in Europe, America and Asia, young and unmarried women usually worked at the factories for a limited period in their late teens and early twenties before returning to their rural 39 Crais andScully 2009. 40 Stoler 2010;Engmann 2012. 41 Burawoy 1972Cooper 1980;Atkins 1993.…”

Section: Encountering and Managing Heipo Workersmentioning

confidence: 99%

Engendering China–Africa Encounters: Chinese Family Firms, Black Women Workers and the Gendered Politics of Production in South Africa

2022

The China Quarterly

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This article highlights the centrality of family and gender in Chinese factories in Africa through a case study of Chinese garment production in Newcastle, South Africa. The data used in the article were collected through field research in 2015 and 2016 and several follow-up interviews in 2020 and 2021. The study presents a twofold argument. First, Chinese garment firms in Newcastle can be characterized as “translocal” family firms. Unlike Chinese state enterprises and large transnational companies, these translocal family firms represent a particular kind of private capital that prioritizes a diversified source of income and that is economically embedded but less concessionary to labour pressures. Second, the racial and class encounters between Chinese employers and African women workers are constructed and contested through gender. While Chinese employers attempt to impose racial hierarchy and increase production, Zulu women workers respond to managerial control and demands in creative and gendered ways.

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“…The Familiarly Grotesque. The Afterlife of Colonial Fantasy signification and representation (Engmann 2012;Nelson 2010). Employed from the 19th century as a utilitarian tool to capture colonial encounters and circulate renderings of Africans or "native life" to European metropoles (Engmann 2012, 53), paintings and photographs were paramount to projects of "visual[izing] racial difference" (Nelson 2010, 4).…”

Section: Reproducing the Colonial: Imagining With Impunitymentioning

confidence: 99%

The Familiarly Grotesque. The Afterlife of Colonial Fantasy

Mendes¹

2021

Periskop

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Under Imperial Eyes, Black Bodies, Buttocks, and Breasts: British Colonial Photography and Asante “Fetish Girls”

Cited by 14 publications

References 21 publications

A Colonial Gaze on Mecca: Networks Surrounding the First Documentary about the Hajj

A Colonial Gaze on Mecca: Networks Surrounding the First Documentary about the Hajj

Engendering China–Africa Encounters: Chinese Family Firms, Black Women Workers and the Gendered Politics of Production in South Africa

The Familiarly Grotesque. The Afterlife of Colonial Fantasy

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