A Pariah Among Parvenus: Anne Fischer and the Politics of South Africa's New Realism(s)∗

IF 0.4 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY
OCTOBER Pub Date : 2020-09-01 DOI:10.1162/OCTO_A_00406
Jessica R. Williams
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引用次数: 0

Abstract

While scholars have begun to explore the complex afterlives of “new realism” in Europe and the Americas following the collapse of Weimar democracy, its reception on the African continent has received far less attention. Looking to the unheralded documentary work that Anne Fischer, a German- Jewish refugee to Cape Town, produced in the early years of the Second World War, this essay examines how she and South African contemporary Constance Stuart Larrabee variously employed German modernist photographic aesthetics to both critique and uphold public fictions of race in the decade leading up to the advent of apartheid. In considering these women's work, the text sheds light on how issues of race, class, and gender inflected Fischer's experience of exile and, in turn, how she mobilized her lens in her new colonial context as a young pariah among parvenus
Parvenus中的Pariah:Anne Fischer与南非新现实主义政治
虽然学者们已经开始探索魏玛民主崩溃后“新现实主义”在欧洲和美洲的复杂后果,但它在非洲大陆的受欢迎程度却远没有受到关注。第二次世界大战初期,开普敦的德国犹太难民Anne Fischer制作了一部不为人知的纪录片,本文探讨了她和南非当代人康斯坦斯·斯图尔特·拉拉比在种族隔离出现前的十年里,如何以不同的方式运用德国现代主义摄影美学来批判和维护种族的公共小说。在考虑这些女性的作品时,文本揭示了种族、阶级和性别问题是如何影响菲舍尔的流亡经历的,反过来,她又是如何在新的殖民背景下,作为一个年轻的暴发户贱民,调动自己的镜头的
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来源期刊
OCTOBER
OCTOBER HUMANITIES, MULTIDISCIPLINARY-
CiteScore
0.10
自引率
33.30%
发文量
0
期刊介绍: At the forefront of art criticism and theory, October focuses critical attention on the contemporary arts and their various contexts of interpretation: film, painting, music, media, photography, performance, sculpture, and literature. Examining relationships between the arts and their critical and social contexts, October addresses a broad range of readers. Original, innovative, provocative, each issue presents the best, most current texts by and about today"s artistic, intellectual, and critical vanguard.
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