George Eastman's Modern Stone-Age Family
Snapshot Photography and the Brownie
Bibliographic Data
| ID | 4743502 |
|---|---|
| Authors | M Olivier (0009-0000-7402-7300), Martin S Olivier (0000-0002-5030-6134, corresponding author) |
| Year | 2007 |
| Volume | 48 |
| Issue | 1 |
| Pages | 1-19 |
| Publication date | 2007-01-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Technology and Culture (JOURNAL) |
| Journal identifiers | ISSN: 0040-165X • E-ISSN: 1097-3729 |
| Publisher | Project MUSE (PUBLISHER • US) |
| DOI | 10.1353/tech.2007.0035 |
| OpenAlex | W2033290711 |
| Language | EN |
| Citations received | 10 |
| References cited | 6 |
In 1900, George Eastman brought snapshot photography to the masses with the introduction of the $1 Brownie camera. Borrowing the name and likeness of the folkloric creatures popularized (or instrumentalized) by Palmer Cox, Eastman conflates folklore and technology. He allies his product with an enchanted world, and creates a magical tale of origins for the little box camera. This essay analyzes the advertising campaign that first mass-marketed modern snapshot photographing as a form of folk narrative
Archaeology · Art · Art history · Creatures · Folklore · George (robot) · Literature · Narrative · Photography · Snapshot (computer storage) · Visual arts · Comics and Graphic Narratives · Computer Science · Folklore, Mythology, and Literature Studies · History · Media, Gender, and Advertising
Imagen de la infancia e idea de la educación en la guerra de España (1936-1939)
Creation and Control in the Photographic Process
Realising Production – The Tools of Empire
Le monde matériel de la photographie
Snapshots, or
War, Photography, Business
The Brownies in Palestina”
Throwback fascism
Civilization Inoculated
The Semiotics of Brand
| Unique citing works | 10 |
|---|---|
| Citations per year | 0,63 |
| Citation span | 2010 - 2026 (17) |
| Citation velocity | current |
| Highly cited | No |
| Citation types | Neutral: 8 |