Coming into Visibility in the Indian Ocean

IF 0.3 2区 艺术学 0 ART
Yvette Christiansë
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引用次数: 1

Abstract

This article discusses photographs in the Seychelles archive of Liberated Africans and in the Mauritian archive of identity documents for indentured Indians or Indian Immigrants. It considers the heterogeneity of their movement in two related contexts, when territorial boundaries and new definitions of labour and photography were drawn into assertions of state and colonial British authority. In the Seychelles, ‘passport-sized’ photographs were fixed and immobile in the Register of Liberated Africans. In Mauritius, identity photographs were attached to documents which individuals carried to prevent what we now call ‘identify theft’ and falsification. At issue is the differential mobility of the images and what they reveal about the circumstances in which ‘free’ people were trapped in and by a British colonial state bureaucracy determined to curb the ‘lawlessness’ of settlers, only to be drawn into an entangled complicity with those it sought to regulate. When European powers were consolidating territorial jurisdictions and boundaries by policing movement across the liquid domain of the Indian and Atlantic oceans, the ‘coming into visibility’ that photography afforded and demanded worked to differentially restrict the movements of racially marked people and to make movement itself the medium of State authority over local capitalists.
在印度洋上进入能见度
本文讨论塞舌尔档案中有关解放非洲人的照片,以及毛里求斯档案中有关契约印第安人或印度移民身份证件的照片。它在两个相关的背景下考虑了他们运动的异质性,当领土边界和劳动和摄影的新定义被卷入国家和殖民英国权威的断言时。在塞舌尔,“护照大小”的照片被固定在被解放的非洲人登记册上。在毛里求斯,身份照片附在个人携带的文件上,以防止我们现在所说的“身份盗窃”和伪造。争论的焦点是这些图像的不同流动性,以及它们揭示了“自由”的人们被困在英国殖民国家官僚机构的环境中,这些官僚机构决心遏制定居者的“无法无天”,结果却被卷入了与那些它试图监管的人纠缠在一起的同谋中。当欧洲列强通过在印度洋和大西洋的流动领域进行警务活动来巩固领土管辖权和边界时,摄影所提供和要求的“进入可见性”,在不同程度上限制了有种族标志的人的活动,并使运动本身成为国家权力对当地资本家的媒介。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
CiteScore
0.30
自引率
50.00%
发文量
23
期刊介绍: History of Photography is an international quarterly devoted to the history, practice and theory of photography. It intends to address all aspects of the medium, treating the processes, circulation, functions, and reception of photography in all its aspects, including documentary, popular and polemical work as well as fine art photography. The goal of the journal is to be inclusive and interdisciplinary in nature, welcoming all scholarly approaches, whether archival, historical, art historical, anthropological, sociological or theoretical. It is intended also to embrace world photography, ranging from Europe and the Americas to the Far East.
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