Corporate photography goes to the forest
The article examines how images, material culture, and texts intersect in the representation of the Karipuna, an indigenous group who lived in the Brazilian Amazon. I discuss how authors historically employed “markers of typicality” (PINNEY 1997) to signal the “purity” of the Madeira and Mamoré Vall...
محفوظ في:
| الحاوية / القاعدة: | URI:https://journals.openedition.org/artelogie, |
|---|---|
| المؤلف الرئيسي: | |
| التنسيق: | Article ou chapitre numérique |
| اللغة: | Anglais |
| منشور في: |
Artelogie
2018
|
| الموضوعات: | |
| الوصول للمادة أونلاين: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| الملخص: | The article examines how images, material culture, and texts intersect in the representation of the Karipuna, an indigenous group who lived in the Brazilian Amazon. I discuss how authors historically employed “markers of typicality” (PINNEY 1997) to signal the “purity” of the Madeira and Mamoré Valley’s native population. I specifically focus on Dana Merrill’s photographic documentation of the construction of the Madeira-Mamoré Railway, built in the region between 1907 and 1912. I analyze Merrill’s corporate imagery in relation to the visualities of the Noble Savage. I argue that, although the photographer’s gaze did follow elements that connoted the isolation of Amerindians, he was also interested in the hybrid reality of the Karipuna. |
|---|