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Listening to Images

Autor Tina M. Campt
en Limba Engleză Paperback – 6 apr 2017
In Listening to Images Tina M. Campt explores a way of listening closely to photography, engaging with lost archives of historically dismissed photographs of black subjects taken throughout the black diaspora. Engaging with photographs through sound, Campt looks beyond what one usually sees and attunes her senses to the other affective frequencies through which these photographs register. She hears in these photos-which range from late nineteenth-century ethnographic photographs of rural African women and photographs taken in an early twentieth-century Cape Town prison to postwar passport photographs in Birmingham, England and 1960s mug shots of the Freedom Riders-a quiet intensity and quotidian practices of refusal. Originally intended to dehumanize, police, and restrict their subjects, these photographs convey the softly buzzing tension of colonialism, the low hum of resistance and subversion, and the anticipation and performance of a future that has yet to happen. Engaging with discourses of fugitivity, black futurity, and black feminist theory, Campt takes these tools of colonialism and repurposes them, hearing and sharing their moments of refusal, rupture, and imagination.
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Specificații

ISBN-13: 9780822362708
ISBN-10: 0822362708
Pagini: 152
Dimensiuni: 152 x 232 x 10 mm
Greutate: 0.25 kg
Editura: MD – Duke University Press

Cuprins

Acknowledgments vii
Introduction. Listening to Images: An Execise in Counterintuition 1
1. Quick Soundings: The Grammar of Black Futurity 13
2. Striking Poses in a Tense Grammar: Stasis and the Frequency of Black Refusal 47
3. Haptic Temporalities: The Quiet Frequency of Touch 69
Coda. Black Futurity and the Echo of Premature Death 101
Notes 119
Bibliography 127
Illustration Credits 131
Index 137

Notă biografică


Descriere

Tina M. Campt explores a way of listening to photography by engaging with lost archives of state identification photographs of Afro-diasporan people taken between the late 1800s and the present, showing how to hear the quiet refusal emanating from these photos originally intended to dehumanize and police their subjects.