Photography and history in the Pacific Islands: Visual histories and photographic evidence

Journal of Pacific History

Volumn 41, Issue 2, 2006, Pages 165-173

  Quanchi, Max ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 47949120896     PISSN: 00223344     EISSN: None     Source Type: Journal    
DOI: 10.1080/00223340600826052     Document Type: Review

References (77)

1. Donald Denoon and Philippa Mein-Smith, with Marivic Wyndham, A History of Australia, New Zealand and the Pacific (London 2000), 1.
2. For Brown, see Prue Ahrens, 'From darkness to light: the story of conversion in the Reverend George Brown's photographs', Continuum, 19 (2005), 279 84;
3. idem. 'Reading the Reverend George Brown's Samoan photographs', History of Photography, 27 (2003), 189 199;
4. idem, 'Colonising with Christianity? The case of George Brown, missionary photographer', Third Text, 19 (2005 ), 239-67.
5. For Williams, see Michael Young and Julia Clark, An Anthropologist in Papua: the photography of F.E. Williams 1922-39 (Adelaide 2001).
6. Joanna Wright, 'Lucknow: photography and the Indian rebellion', in Robin Lenman (ed.), The Oxford Companion to the Photograph (Oxford 2005), 305.
7. Elizabeth Edwards, 'Native peoples and photography', in Lenman, The Oxford Companion, 434.
8. See Edwards, 'Colonialism and photography', 'Native peoples and photography' and 'Anthropology' in Lenman, The Oxford Companion, 38 40, 130-3, 434-8.
9. There is a vibrant industry in producing illustrated histories of New Caledonia, see e.g., Pierre Alibert and Gerard Lacourrege, La Presence Americaine en Nouvelle-Calédonie (Nouméa 1981);
10. Serge Kakou, Découverte photographique de la Nouvelle- Calédonie 1848-1900 (Arles 1998);
11. Henri Daly, La Guerre du Pacifique 1941-1945, Nouvelle-Calédonie, porte-avions Américain dans les mers du sud (Nouméa 2002).
12. For the extent of German material, see e.g., Hermann Hiery, Bilder aus der Deutschen Südsee: fotografien 1884-1914 (Paderborn 2005);
13. Jutte B. Engelhard and Peter Mesenhöller (eds), Bilder aus dem Paradies: Koloniale Fotografie aus Samoa 1875-1925 (Köln 1995).
14. The benchmark for illustrated publishing at the end of the 19th century was also German; see e.g., the profusely illustrated two volumes by A.B. Meyer and R. Parkinson, Album von Papuatypen (Dresden 1900).
15. English language publications are rare, but see Chris Ballard, Steven Vink and Anton Ploeg, Race to the Snow: photography and the exploration of Dutch New Guinea 1907-1936 (Amsterdam 2001).
16. See Martha Langford, Suspended Conversations: the afterlife in photographic albums (Montreal 2001).
17. Papers from the 1996 Pacific History Association conic -retire in Hilo, Hawaii, were published in a special issue ai Pacific Studies,. 20:4 ( 1997).
18. For works on the Pacific up to 1997, see Max Quanchi, 'Introduction: imaging, representation and photography of the Pacific Islands', ibid., 7-12.
19. See also Kurt During (ed.), Pathways to the Tongan Present (Nuku'alofa 1995);
20. Judy Annear (ed.), Portraits of Oceania (Sydney 1997);
21. Max Quanehi, 'Thomas McMahon: photography as propaganda in the Pacific Islands', History of Photography, 21 (1997), 42-53.
22. See Len Bell, 'Pictures as history, settlement as theatre: John Davis's photo-portrait of Robert Louis Stevenson and family at Vailima, Samoa 1892', Journal of New Zealand Literature, 20 (2002), 93-111.
23. Edwards, 'Time and space on the quarterdeck: two Samoan photographs by Captain W. Acland', in idem, Raw Histories: photographs, anthropology and museums (Oxford 2001), 107-29.
24. See fn. 4 and Quanchi, 'The imaging of Samoa', in this issue.
25. For a similar approach on Papuan tree houses, see idem, 'Tree houses, representation and photography on the Papuan coast 1880-1930', in B. Craig, B. Kernot and C. Anderson (eds.), Act and Performance in Oceania (Bathurst 1999), 218-30;
26. and for lateen sail and canoe photographs see Quanchi, 'Iconography and identity-the appropriation of crab claw sails in Oceania', in V.L. Webb and K. Stevenson (eds), Re-presenting Pacific Art, Crawford House Press, forthcoming 2006.
27. Edwards, Raw Histories, 109.
28. See e.g., idem, Anthropology and Photography 1860-1930 (New Haven 1992);
29. James Ryan, Picluring Empire: photography and the visualisation of the British Empire (Chicago 1997);
30. Christopher Pinney, Camera Indica: the social life of Indian photographs (London 1997);
31. Joan Schwartz and James Ryan (eds), Picturing Place: photography and the geographical imagination (London 2003);
32. Christopher Pinney and Nicholas Peterson, Photography's other Histories (Durham 2003).
33. J.C.H. King and Henrietta Lidchi (eds), Imaging the Artic(Seattle 1908). Area studies on East Asia, Indo-China, South Asia, western, eastern and southern Africa and Oceania and photography in individual countries are featured in Lenman, The Oxford Companion, passim.
34. John Collier and Malcolm Collier, Visual Anthropology: photography as a research method (Albuquerque 1992);
35. Anna Grimshaw, The Ethnographer's Eye: ways of seeing in modern anthropology (Cambridge 2001);
36. Elizabeth Edwards and Janice Hart (eds), Photographs, Objects, Histories: on the materiality of images (London 2004).
37. Paula Richardson Fleming and Judith Luskey, The North American Indians in Early Photographs (New York 1986);
38. Fleming and Luskey, The Shadow Catchers: images of the American Indian (London 1993);
39. James Faris, Navajo and Photography: a critical history of the representation of an American people (Albuquerque 1995);
40. T. Johnson, Spirit Capture: photographs from the National Museum of the American Indian (Washington 1998).
41. For a recent and excellent analysis of indigenous Australian photography, see Philip Batty, Lindy Allen and John Morton (eds), The Photographs of Baldwin Spencer (Melbourne 2006)
42. and Jane Lydon, Eye Contact: photographing Indigenous Australians (Durham 2005).
43. John MacKenzie, Propaganda and Empire (Manchester 1984);
44. idem (ed.), Imperialism and Popular Culture (Manchester 1986).
45. For Africa, see e.g., Nicholas Monti, Africa Then: photographs 1840-1910 (London 1987);
46. Christraud M. Geary and Krzyszlof Pluskota (eds), In and Out of Focus: images from Central Africa, 1885-1960 (Cape Town 2003);
47. Patricia Hayes, Jeremy Silvester and Wolfram Hartmann (eds), The Colonising Camera: photographs in the making of Namibian history 1915-1950s (Cape Town 1998);
48. Andrew Roberts, 'Photographs and African history', Journal of African History, 29 (1998), 301-11;
49. Paul Landau, 'Empire of the visual: photography and colonial administration in Africa', in idem (ed.), Images of Empire: visuality in colonial and post-colonial Africa (Berkeley 2003), 141-71.
50. For Asia, see e.g., Pinney, Camera Indica;
51. Benito Vergara, Displaying Filipinos: photography and colonialism in early 20th century Philippines (Manila 1995);
52. and Pinney and Peterson, Photography's Other Histories.
53. Ron Adams, Framing the Native: Rev. James Hay Lawrie's Vanuatu photographs 1891-1894 (Port Vila 1998);
54. Quanchi, '¿Había papúas? Imágenes visuales, representación y fronteras', Revista Espanola del Pacifico, 8:8 (1998), 123-56;
55. Jane Desmond, 'Picturing Hawaii: the ideal native and the origins of tourism 1880-1915', Positions, 7: 2 (1999), 459-501;
56. Grahame Pike and Barry Craig, 'The Papuan photographs of Ernest Sterne Usher', Pacific Arts, 19/20 (1999), 27-37;
57. Quanchi, 'Pacific Island photography: knowledge and history in the public domain', Spectator, 23:1 (2001), 13-26.
58. See also, e.g., a special issue 'Photography in Hawaii', History of Photography, 25:3 (2001);
59. Robert Dixon, Prosthetic Gods: travel, representation and colonial governance (Brisbane 2001);
60. Chris Wright, 'Supple bodies: the Papua New Guinea photographs of Captain Francis R. Barton 1899-1907', in Pinney and Peterson, Photography's Other Histories, 146-69;
61. Edwards, 'Negotiating space: some photographic incidents in the Western Pacific 1883-84', in Schwartz and Ryan, Picturing Place, 261-80;
62. Quanchi, 'Jewel of the Pacific and planter's paradise: the visual argument for Australian sub-imperialism in the Solomon Islands', Journal of Pacific History, 39 (2004), 43-58.
63. Mackenzie, Propaganda and Empire, 3; for postcards generally, see 21-3.
64. Christraud Geary and Virginia Lee Webb (eds), Delivering Views: distant cultures in early postcards (Washington 1998), 9.
65. Catherine Lutz and Jane Collins, Reading National Geographic (Chicago 1993).
66. For exhibitions see, e.g., Robert Rydell, All the World's a Fair: visions of empire at American international expositions 1876-1916 (Chicago 1984);
67. Anne Maxwell, Colonial Photography and Exhibitions (London 1999).
68. For museums, see e.g., Michael O'Hanlon, Paradise: portraying the New Guinea Highlands (London 1993);
69. James Clifford, Routes: travel and translation in the late twentieth century (London 1997);
70. and Laura Peers and Alison Brown (eds), Museums and Source Communities: a Routledge reader (London 2005), in particular the essays therein by Edwards, Binney and Chaplin, Bell and Bolton.
71. For postcards, see e.g., Geary and Webb, Delivering Views.
72. Lamont Lindstrom and Geoff White, Island Encounters: black and white memories of the Pacific War (Washington 1990).
73. Michael Sturma, South Sea Maidens: western fantasy and sexual politics in the South Pacific (Westport, Conn. 2002)
74. and Martin Sutton, Strangers in Paradise: adventurers and dreamers in the South Seas (Sydney 1995) refer to photography only in passing.
75. On art, see Bernard Smith, European Vision and the South Pacific (Oxford 1960);
76. idem, Imagining the Pacific in the wake of Cook's voyages (Melbourne 1992);
77. and on literature see Rod Edmond, Representing the South Pacific: colonial discourse from Cook to Gauguin (Cambridge 1997).