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Comical Conflations

Racial Identity and the Science of Photography

Bibliographic Data

ID12910329
AuthorsTanya Sheehan (corresponding author)
Year2011
Volume4
Issue2
Pages133-155
Publication date2011-06-28
Peer ReviewedYes
Open AccessNo
TypeARTICLE
VenuePhotography and Culture (JOURNAL)
Journal identifiersISSN: 1751-4517 • E-ISSN: 1751-4525
PublisherTaylor & Francis (PUBLISHER • GB)
DOI10.2752/175145211x12992393431160
OpenAlexW2069969338
LanguageEN
Citations received1
References cited29

Comical associations between the science of photography and ideas about race were common on both sides of the Atlantic in the decades after the medium's invention. Some humorists observed that no bourgeois sitter would welcome the sight of his “negative” or blackened self; others illustrated the cosmetic character of race by depicting the effects of photographic chemicals on human skin. This essay takes these racial jokes seriously by reading them as historically specific social commentary. Beginning with an analysis of the first book of photographic humor, Cuthbert Bede's Photographic Pleasures (1855), it shows how this genre both reinforced and challenged popular conceptions of whiteness, blackness, and the photographic medium

Aesthetics · Art · Art history · Bourgeoisie · Character (mathematics · Identity (music · Photography · Politics · Race (biology · Reading (process · Sight · Sociology · Visual arts · Gender Studies · Literature, Film, and Journalism Analysis · Philosophy · Photography and Visual Culture · Visual Culture and Art Theory

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Unique citing works1
Citations per year0.5
Citation span2024 - 2024 (1)
Citation velocityrecent
Highly citedNo
Citation typesNeutral: 1

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