Gazing at the Colonial Gaze

Photographic Observation and Observations on Photography Based on a Comparison between Aspects of the Work of Pierre Bourdieu and Jean-Claude Passeron

Datos Bibliográficos

ID3950992
AutoresD Robbins (0000-0002-2050-7226, University of East London, autor de correspondencia)
Año2009
Volumen57
Número3
Páginas428-447
Fecha de publicación2009-08-01
Peer ReviewedSí
Open AccessSí
TipoARTICLE
RevistaThe Sociological Review (JOURNAL)
Identificadores de la revistaISSN: 0038-0261 • E-ISSN: 1467-954X
EditorialSAGE Publications Inc (PUBLISHER)
DOI10.1111/j.1467-954x.2009.01848.x
OpenAlexW1801355724
IdiomaEN
Citas recibidas3
Referencias citadas21

The paper was provoked by viewing various selections of the photos taken by Bourdieu in Algeria in the late 1950s and early 1960s. The paper is divided into two parts. The first part considers three stages in the production and consumption of Bourdieu's photos. The possibility that the third of these stages - the gallery display of Bourdieu's photos in the present - might be a betrayal of the sociology of photography and of art galleries that Bourdieu attempted in the 1960s leads to the discussion of the second part of the paper. Part 2 first contextualises the work on photography undertaken within the Centre de Sociologie Européenne in the early 1960s and then, secondly, discusses the emergence of divergent sociologies of photography in the work of Bourdieu and Passeron. The purpose of the discussion is to ask which of the theories of photography which developed in association with Bourdieu's photographic activity now enables us better to respond to Bourdieu's photographic products

Cultural Identity and Heritage · Education, sociology, and vocational training · Social and Cultural Dynamics