"YOU'LL NEVER FORGET WHAT YOUR CAMERA REMEMBERS": IMAGE-THINGS AND CHANGING TIMES IN CAPITAL ART STUDIO, ZANZIBAR.
Capital Art Studio is the oldest photographic studio in Zanzibar today, and is unique in having survived the revolution of 1964. This essay reflects on the practices of remembrance performed by father and son, Ranchhod and Rohit Oza, in the studio since its inception in 1930. It does so by attending...
| Publicado en: | Critical Arts: A South-North Journal of Cultural & Media Studies Vol. 32; no. 1; pp. 75 - 92 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Feb2018
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=129543490&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 129543490 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 02560046 CTA jtl: Critical Arts: A South-North Journal of Cultural & Media Studies issn: 02560046 maglogo: N pubinfo: dt: Feb2018 vid: 32 iid: 1 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 129543490 10.1080/02560046.2018.1431300 ppf: 75 ppct: 17 formats: fmt: @attributes: type: P size: 6.7MB tig: atl: "YOU'LL NEVER FORGET WHAT YOUR CAMERA REMEMBERS": IMAGE-THINGS AND CHANGING TIMES IN CAPITAL ART STUDIO, ZANZIBAR. aug: au: Samuelson, Meg affil: University of Adelaide, Australia Stellenbosch University, South Africa su: Photographic darkrooms Father-son relationship 20th century photography Photography Vernacular photography History of Zanzibar Twentieth century Africa sug: subj: Africa Photographic darkrooms Father-son relationship 20th century photography Photography Vernacular photography History of Zanzibar Twentieth century keyword: memory photography ruination Stone Town Zanzibar ab: Capital Art Studio is the oldest photographic studio in Zanzibar today, and is unique in having survived the revolution of 1964. This essay reflects on the practices of remembrance performed by father and son, Ranchhod and Rohit Oza, in the studio since its inception in 1930. It does so by attending to the double nature of the photograph--simultaneously "two-dimensional image" and "three-dimensional thing"--and its paradoxical inscription of the changing times in Zanzibar. Focusing on the studio's image-making practices and their material manifestations, the essay reflects on its presentation of competing visions of vernacular modernity and their states of ruination. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Critical Arts: A South-North Journal of Cultural & Media Studies is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Critical Arts: A South-North Journal of Cultural & Media Studies holder: Taylor & Francis Ltd dt: @attributes: year: 2018 holdings: @attributes: islocal: N |
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