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Julia Margaret Cameron's Ceylonese p...

Ebos, Mary.

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Julia Margaret Cameron's Ceylonese photographs: A feminist visual cultural analysis.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Julia Margaret Cameron's Ceylonese photographs: A feminist visual cultural analysis./
作者:	Ebos, Mary.
面頁冊數:	370 p.
附註:	Source: Dissertation Abstracts International, Volume: 70-09, Section: A, page: 3667.
Contained By:	Dissertation Abstracts International70-09A.
標題:	Biography. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=NR51698
ISBN:	9780494516980

Julia Margaret Cameron's Ceylonese photographs: A feminist visual cultural analysis.
Ebos, Mary.

Julia Margaret Cameron's Ceylonese photographs: A feminist visual cultural analysis. - 370 p.

Source: Dissertation Abstracts International, Volume: 70-09, Section: A, page: 3667.

Thesis (Ph.D.)--York University (Canada), 2009.

This dissertation analyses a group of twenty-seven photographs taken in Ceylon between 1875 and 1879. Twenty-two of the images are of Ceylonese people and five are of the British botanic painter Marianne North. The most significant feature of these images is that they were taken by the white British colonialist, Julia Margaret Cameron. At the age of forty-eight Cameron began a fifteen-year career as a photographer of British celebrities in which she staged artistic and theatrical images and took portraits of 'fair' women and 'famous' men. However, her photographs of Ceylonese natives have largely been ignored by academic analysts. These images taken late in her life deserve serious academic inquiry since they contrast so significantly with her prior portraits and raise questions about 'race', class and gender. My purpose is to formulate the outline of an interdisciplinary theory that creates pathways of analysis for Julia Margaret Cameron's photographs of Ceylonese people.

ISBN: 9780494516980Subjects--Topical Terms:

531296
Biography.

Julia Margaret Cameron's Ceylonese photographs: A feminist visual cultural analysis.
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502 $a Thesis (Ph.D.)--York University (Canada), 2009.
520 $a This dissertation analyses a group of twenty-seven photographs taken in Ceylon between 1875 and 1879. Twenty-two of the images are of Ceylonese people and five are of the British botanic painter Marianne North. The most significant feature of these images is that they were taken by the white British colonialist, Julia Margaret Cameron. At the age of forty-eight Cameron began a fifteen-year career as a photographer of British celebrities in which she staged artistic and theatrical images and took portraits of 'fair' women and 'famous' men. However, her photographs of Ceylonese natives have largely been ignored by academic analysts. These images taken late in her life deserve serious academic inquiry since they contrast so significantly with her prior portraits and raise questions about 'race', class and gender. My purpose is to formulate the outline of an interdisciplinary theory that creates pathways of analysis for Julia Margaret Cameron's photographs of Ceylonese people.
520 $a My dissertation outlines and summarizes interdisciplinary approaches that are essential to Women's Studies. Feminist visual cultural techniques as well as theoretical approaches from feminist geographies, photographic investigation and 'racial' studies that examine what Mary Louise Pratt described as the 'contact zone' offer an informed analysis of these photographs of colonized, native people. Critical and historical perceptions of Cameron's Ceylonese photographs have prevented their detailed interpretation and analysis, and possibly, limited appreciation of their overall importance.
520 $a This dissertation contends that Cameron's images record potent asymmetric power dimensions and an anxious tension, which stem from Cameron's focus on her Ceylonese subjects. The intersection of a representative of the colonizer---Julia Margaret Cameron as a metonym for the British Empire--and the colonized---the racialized people of Ceylon---in the figurative space of the 'contact zone' where fluid constructions of 'race', gender and class interact with each other in shifting relationships of power, is examined. In attempting to analyse Cameron's photographs of Ceylonese plantation workers it is important to consider how the dynamics of difference in terms of 'race' was understood in the nineteenth century and how it is understood in the twentieth and twenty-first centuries.
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