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• W3203467221 abstract "In 1989, in response to acritical scholarship on French colonialism, historian Pascal Blanchard, anthropobiologist Gilles Boëtsch, and historian and filmmaker Éric Deroo founded the Paris-based Association pour la connaissance de l’histoire de l’Afrique contemporaine (ACHAC) and began to create an archive of visual materials revealing how France represented its empire. This book focuses primarily on the portion of this archive that was sold to the Getty Research Institute in 1997. Its contributors, from diverse disciplines, reflect critically on the role of visual culture in constructing and perpetuating imperial ideology across a range of material. The first two of ten essays contextualize the volume. Frances Terpak situates ACHAC materials at the Getty Research Institute in relation to the institute’s other French colonial collections, while Pascal Blanchard and Dominic Thomas trace the genealogy of the ACHAC research project, which today explores colonialism, immigration, and postcolonialism. Patricia Morton considers posters, postcards, and cut-out paper toys produced for France’s colonial exhibitions, particularly the Exposition coloniale internationale of 1931. Ephemera such as toys and games are examined as traces of an ‘everyday’ French colonialism in the essays by Charles Forsdick and Dominic Thomas. Peter J. Bloom examines how a colonial consciousness was inculcated in children in the Belgian context through bande dessinée. Images of the Sahara, primarily in colonial photographs and personal collecting albums, are the subject of Michelle H. Craig’s contribution. David Murphy analyses representations of the tirailleur sénégalais from the First World War in advertisements, postcards, photographs, drawings, and literature, together with the 1920s speeches of military veteran and leading Black anti-colonialist Lamine Senghor. Lauren Taylor examines the development of colonial enlistment posters, while Steven Nelson focuses on the illustrated wall map, ‘La France et ses colonies’ (1897). These carefully contextualized analyses reveal how the archive reflects evolving attitudes towards colonialism, as well as shifting means of constructing French national identity. They highlight the counter-discourses in — or unintended uses of — certain material, thereby allowing for alternative histories. Morton perceives the ACHAC collection as a ‘counter-archive’ that destabilizes the ‘imperial archive’ by placing its images and ephemera in a narrative about popular racism in France (pp. 41–42). Yet, she signals, citing Marion von Osten, ‘[w]hat is missing is […] the “resistance, negotiations, and appropriations made by the subalterns themselves”’ (p. 46). She observes that ‘[t]he ACHAC collection seeks to counter official history by transposing objects into a new archive, but it leaves intact the epistemological project of the imperial archive’ (p. 47); and asks: ‘While preserving ACHAC’s project to expose racism’s deep penetration into French culture and politics, is it possible to decolonize the archive?’ (p. 47). This volume indicates the potential for a decolonial approach via Morton’s own essay, which (in addition to considering ACHAC images that do not cohere with its narrative) highlights anti-colonial resistance to the Exposition of 1931, and particularly via Murphy’s inclusion of Senghor’s speeches. This book provides a crucial critical reflection on colonial culture and its impact on French and other European societies today, as well as contributing to wider debates on collecting, archiving, and commemorating." @default.
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• W3203467221 date "2021-09-27" @default.
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• W3203467221 title "Visualizing Empire: Africa, Europe, and the Politics of Representation. Edited by Rebecca Peabody, Steven Nelson, and Dominic Thomas" @default.
• W3203467221 doi "https://doi.org/10.1093/fs/knab159" @default.
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