| |
|
|
|
|
|
|
|
|
1. |
Record Nr. |
UNINA9910465581003321 |
|
|
Titolo |
Calling the shots : aboriginal photographies / / edited by Jane Lydon |
|
|
|
|
|
Pubbl/distr/stampa |
|
|
Canberra, Australian Capital Territory : , : Aboriginal Studies Press, , 2014 |
|
|
|
|
|
|
|
|
|
ISBN |
|
1-922059-60-9 |
1-922059-61-7 |
|
|
|
|
|
|
|
|
Descrizione fisica |
|
1 online resource (292 p.) |
|
|
|
|
|
|
Disciplina |
|
|
|
|
|
|
Soggetti |
|
Aboriginal Australians - Social life and customs |
Aboriginal Australians - Australia - History |
Families, Aboriginal Australian |
Electronic books. |
|
|
|
|
|
|
|
|
Lingua di pubblicazione |
|
|
|
|
|
|
Formato |
Materiale a stampa |
|
|
|
|
|
Livello bibliografico |
Monografia |
|
|
|
|
|
Note generali |
|
Description based upon print version of record. |
|
|
|
|
|
|
Nota di bibliografia |
|
Includes bibliographical references and index. |
|
|
|
|
|
|
Nota di contenuto |
|
Contents; Acknowledgments; Contributors; Language and style; CHAPTER 1 Introduction: The photographic encounter; Visibility and Photography: A Brief History; Photographs Today: Indigenous Cultural Heritage; Indigenous Artists; Notes; TASMANIA; CHAPTER 2 Forgotten lives: The First Photographs of Tasmanian Aboriginal People; The first Photograph; The People Who Went to Oyster Cove; Control and Containment; The visiting Bishop and Too Little, Too Late; Notes; Acknowledgments; NEW SOUTH WALES; CHAPTER 3 Photographing Indigenous People in New South Wales |
John William Lindt (1845-1926): Still Lives Links To Today; Connecting with the Cowans; Trickery and Artifice; Commercial Markets; Intimacy and Reclamation; Notes; Acknowledgments; CHAPTER 4 Picture Who We Are: Representations of Identity and the Appropriation of Photographs Into a Wiradjuri Oral History Tradition; Introduction; Appropriating Representations; Meaning and Identity; Banking Identities; Wiradjuri Excellence; A Bidja; Notes; Conclusion; VICTORIA; CHAPTER 5 Photographing Kooris: Photography and Exchange; Missionaries and Photography: 'Tell Jane I want Her Likeness'; Notes |
Acknowledgments QUEENSLAND; Portraits of Our Elders; CHAPTER 6 |
|
|
|
|
|
|
|
|
|
|
|
Aboriginal People and Four Early Brisbane Photographers; Early Brisbane Photographers; John Watson; William Knight; Thomas Bevan; Daniel Marquis; Richard Daintree; The Importance of Photographs; Notes; SOUTH AUSTRALIA; CHAPTER 7 Photographing South Australian Indigenous People: 'Far More Gentlemanly Than Many'; Jackey and Jemima Gunlarnman; 'The Nucleus of the Native Church': Poonindie Mission; 1860's: Growing Circulation; Ngarrindjeri and Point McLeay Mission; Notes; Acknowledgments |
CHAPTER 8 'It's that Reflection': Photography as Recuperative Practice, a Ngarrindjeri Perspective'The Weaving of Our Stories and Our Movement in Family': Aunty Ellen's Album; Queen Ethel; Queen Louisa; 'Separated Under False Pretences': William and Patrick Brown; Uncle Tom's Album: Remembering a Way of Life; Aunty Charlotte Richards: A Pioneering Ngarrindjeri Photographer; Aunty Joyce Kerswell: Keeper of the Archive and 'A Llady of History'; Memory and Photographic Loss; Conclusion: Recuperation and the Weaving of our Stories Through Photography; Notes; Acknowledgments |
WESTERN AUSTRALIA CHAPTER 9 Photographing Aboriginal Australians in West Australia; The Mission Era; A History of West Australian Photography; Carte de Visite Photography; Major Collections and Holding Places for Photographic Archives in Western Australia; Battye Library of Western Australia; Berndt Museum of Anthropology; Anthropology Department Photographic Collection Western Australian Museum; Indigenous Communities and Repatriation Projects; Research projects; Future directions; Notes; NORTHERN TERRITORY; CHAPTER 10 Photographing the Outback: The Last Frontier?; Macassans |
'Strong, Beautiful People' |
|
|
|
|
|
|
Sommario/riassunto |
|
Historically, photographs of Indigenous Australians were produced in unequal and exploitative circumstances. Today, however, such images represent a rich cultural heritage for descendants, who see them in distinctive and positive ways. Calling the shots brings together researchers who are using this rich archive to explore Aboriginal history, to identify relatives, and to reclaim culture. It reverses the colonial gaze to focus on the interactions between photographer and Indigenous people - and the living meanings the photos have today. The result is a fresh perspective on Australia's past, |
|
|
|
|
|
|
|
| |