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Photography as an Agent of U.S. Stat...

Cepak, Anthony J.

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Photography as an Agent of U.S. State Power: Producing and Collecting Images for Surveillance of "Undesirable" Immigrants in the Early 20th Century.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Photography as an Agent of U.S. State Power: Producing and Collecting Images for Surveillance of "Undesirable" Immigrants in the Early 20th Century./
Author:	Cepak, Anthony J.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2018,
Description:	120 p.
Notes:	Source: Masters Abstracts International, Volume: 79-12.
Contained By:	Masters Abstracts International79-12.
Subject:	Art Criticism. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10816223
ISBN:	9780355935974

Photography as an Agent of U.S. State Power: Producing and Collecting Images for Surveillance of "Undesirable" Immigrants in the Early 20th Century.
Cepak, Anthony J.

Photography as an Agent of U.S. State Power: Producing and Collecting Images for Surveillance of "Undesirable" Immigrants in the Early 20th Century. - Ann Arbor : ProQuest Dissertations & Theses, 2018 - 120 p.

Source: Masters Abstracts International, Volume: 79-12.

Thesis (M.A.)--Michigan State University, 2018.

This item must not be sold to any third party vendors.

This thesis reexamines the historical visual narrative of early 20 th century immigration in the United States investigating the contributions made by photographers Lewis Wickes Hine and Augustus F. Sherman, and immigration officials William Williams and John R. Robinson. Though widely accepted as the visual record of early 20th century immigration, the Ellis Island work of Hine was in direct conversation with the work of amateur photographer Sherman. Compared to Hine's egalitarian perspective of immigrants, Sherman's photographs provide a narrower, darker view of immigration by focusing on representation of those classified "undesirable" upon arrival due to health, religion, culture, race or ethnicity. While Sherman's work was largely forgotten over time, Hine's work endured to create a visual mythology that elicits nostalgia of Ellis Island as the celebrated entry point for millions of white Europeans. Hine's work as a documentarian is compared to the topological portraiture Sherman made which illustrates the exclusionary nature of his body of work. As agents of state power, Williams and Robinson collected photographs of undesirable immigrants that also construct a dark and narrow view of immigration. Comparing and contrasting the activities of these four actors builds an argument that photographs illustrating race and ethnicity were methodically produced and collected to categorize ethnic and racial types and surveil undesirable immigrants.

ISBN: 9780355935974Subjects--Topical Terms:

637082
Art Criticism.

Photography as an Agent of U.S. State Power: Producing and Collecting Images for Surveillance of "Undesirable" Immigrants in the Early 20th Century.
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245 1 0 $a Photography as an Agent of U.S. State Power: Producing and Collecting Images for Surveillance of "Undesirable" Immigrants in the Early 20th Century.
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520 $a This thesis reexamines the historical visual narrative of early 20 th century immigration in the United States investigating the contributions made by photographers Lewis Wickes Hine and Augustus F. Sherman, and immigration officials William Williams and John R. Robinson. Though widely accepted as the visual record of early 20th century immigration, the Ellis Island work of Hine was in direct conversation with the work of amateur photographer Sherman. Compared to Hine's egalitarian perspective of immigrants, Sherman's photographs provide a narrower, darker view of immigration by focusing on representation of those classified "undesirable" upon arrival due to health, religion, culture, race or ethnicity. While Sherman's work was largely forgotten over time, Hine's work endured to create a visual mythology that elicits nostalgia of Ellis Island as the celebrated entry point for millions of white Europeans. Hine's work as a documentarian is compared to the topological portraiture Sherman made which illustrates the exclusionary nature of his body of work. As agents of state power, Williams and Robinson collected photographs of undesirable immigrants that also construct a dark and narrow view of immigration. Comparing and contrasting the activities of these four actors builds an argument that photographs illustrating race and ethnicity were methodically produced and collected to categorize ethnic and racial types and surveil undesirable immigrants.
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