A01=Carolina Sa Carvalho Pereira
Amazon
Author_Carolina Sa Carvalho Pereira
Brazil
Category=AJ
Category=DSB
Category=DSRC
Claude Levi-Strauss
Environment
eq_art-fashion-photography
eq_bestseller
eq_biography-true-stories
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
Ethnography
Euclides da Cunha
Extractive Capitalism
Humanitarianism
Infrastructure
Latin America
Mario de Andrade
Modernization
Photography
Race
Roger Casement
Rubber Boom
Sertao
Spectatorship
Violence
Visual Culture
Product details
- ISBN 9780810145412
- Weight: 363g
- Dimensions: 151 x 226mm
- Publication Date: 15 Feb 2023
- Publisher: Northwestern University Press
- Publication City/Country: US
- Product Form: Paperback
Secure
checkout
Fast Shipping
Easy returns
A richly illustrated examination of photography as a technology for documenting, creating, and understanding the processes of modernization in turn-of-the-century Brazil and the Amazon
Photography at the turn of the twentieth century was not only a product of modernity but also an increasingly available medium to chronicle the processes of modernization. Traces of the Unseen: Photography, Violence, and Modernization in Early Twentieth-Century Latin America situates photography’s role in documenting the destruction wrought by infrastructure development and extractive capitalist expansion in the Amazon and outside the Brazilian metropole. Combining formal analysis of individual photographs with their inclusion in larger multimedia assemblages, Carolina SÁ Carvalho explores how this visual evidence of violence was framed, captioned, cropped, and circulated. As she explains, this photographic creation and circulation generated a pedagogy of the gaze with which increasingly connected urban audiences were taught what and how to see: viewers learned to interpret the traces of violence captured in these images within the larger context of modernization.
Traces of the Unseen draws on works by Flavio de Barros, Euclides da Cunha, Roger Casement, Claude LÉvi-Strauss, and Mario de Andrade to situate an unruly photographic body at the center of modernity, in all its disputed meanings. Moreover, SÁ Carvalho locates historically specific practices of seeing within the geopolitical peripheries of capitalism. What emerges is a consideration of photography as a technology through which modern aspirations, moral inclinations, imagined futures, and lost pasts were represented, critiqued, and mourned.
Photography at the turn of the twentieth century was not only a product of modernity but also an increasingly available medium to chronicle the processes of modernization. Traces of the Unseen: Photography, Violence, and Modernization in Early Twentieth-Century Latin America situates photography’s role in documenting the destruction wrought by infrastructure development and extractive capitalist expansion in the Amazon and outside the Brazilian metropole. Combining formal analysis of individual photographs with their inclusion in larger multimedia assemblages, Carolina SÁ Carvalho explores how this visual evidence of violence was framed, captioned, cropped, and circulated. As she explains, this photographic creation and circulation generated a pedagogy of the gaze with which increasingly connected urban audiences were taught what and how to see: viewers learned to interpret the traces of violence captured in these images within the larger context of modernization.
Traces of the Unseen draws on works by Flavio de Barros, Euclides da Cunha, Roger Casement, Claude LÉvi-Strauss, and Mario de Andrade to situate an unruly photographic body at the center of modernity, in all its disputed meanings. Moreover, SÁ Carvalho locates historically specific practices of seeing within the geopolitical peripheries of capitalism. What emerges is a consideration of photography as a technology through which modern aspirations, moral inclinations, imagined futures, and lost pasts were represented, critiqued, and mourned.
