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Photography in ethnology. --- Photography in ethnology.

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De l'Exposition coloniale de 1931 aux lendemains de la Seconde Guerre mondiale, les photographies de l'ethnologie ont largement contribué à façonner les imaginaires de l'ailleurs et de l'altérité. Face aux nouvelles perspectives que la documentation visuelle ouvre aux chercheurs, un projet visuel est né parmi les ethnologues français, autour du musée d'Ethnographie du Trocadéro puis du musée de l'Homme. Cependant, il donne rapidement lieu à un véritable emballement pour les images, collectées, publiées, exposées, attirant un regard dont l'attrait du primitivisme et le goût du spectacle sont rarement absents. Les images posent alors en creux la question de la relation photographique, de son sens, de sa fonction critique, et de son possible dévoiement. Du terrain des ethnologues aux archives, des photothèques aux expositions, du laboratoire aux revues, cet ouvrage suit le destin de ces images, pour en questionner les enjeux scientifiques et pédagogiques, commerciaux et politiques. En 1975, l'anthropologue Margaret Mead regrettait que l'anthropologie fût d'abord une ± discipline de mots. On voit ici comment ce langage a été nourri et tissé par les images.

Photography in ethnology --- Photography in ethnology --- History --- Social aspects

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The Echo of Things is a compelling ethnographic study of what photography means to the people of Roviana Lagoon in the western Solomon Islands and a provocative inquiry into our own understandings of photography.

Photography in ethnology --- Solomon Islanders --- Solomon Islands

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Photography in ethnology --- Photography in historiography

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Pinney's account of these changes in portraiture from depiction to invention is accompanied by 127 photographs, and his sensitive analysis uncovers the links between these intriguing images and the society from which they emerge. Pinney identifies three key moments In Indian portraiture: the use of photography as a quantifiable instrument of measurement under British rule, the role of portraiture in moral instruction, and the current visual style of popular culture and its effects on modes of picturing. Photographic culture thus becomes a mutable realm in which capturing likeness is only part of the project. Today, Indian images are characterized by a distinctive postcolonial photographic practice, which involves sophisticated inventiveness and techniques such as overpainting, collage, composite printing and doubling. Contemporary portraits that showcase these techniques rely as well on elaborate backdrops and props such as motorbikes to construct an endless variety of identities, challenging the prior use of photography as documentation and description.

Photography in ethnology --- Photography in ethnology --- Photography --- Portrait photography --- History --- History --- Psychological aspects --- History