Conférence
Notice
Lieu de réalisation
campus condorcet
Langue :
Anglais
Crédits
Vianney Escoffier (Réalisation), Elena Vezzadini (Organisation de l'évènement), Domenico Cristofaro (Organisation de l'évènement), Justin Carville (Intervention)
Crédit image : CNRS
Détenteur des droits
CNRS
Conditions d'utilisation
Droit commun de la propriété intellectuelle
DOI : 10.60527/fkgz-h846
Citer cette ressource :
Justin Carville. EHESS. (2024, 31 mai). Racializing Photography: Reflecting on the Constellations of Photography, History and Race. [Vidéo]. Canal-U. https://doi.org/10.60527/fkgz-h846. (Consultée le 25 avril 2025)
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Racializing Photography: Reflecting on the Constellations of Photography, History and Race

Réalisation : 31 mai 2024 - Mise en ligne : 25 juin 2024
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Descriptif

This paper asks how photographs might contribute to exploring Patrick Wolfe’s statement that ‘races are traces of histories’. Taking as its cases study the mobilization of photography to classify the Irish as both non-white and white across a 50 year period from the late nineteenth through to the mid-twentieth century, the paper will focus on the methods and theoretical frameworks that open up spaces to reflect on the intersections of photography, social history and race. The paper proposes that instead of exploring photography and race solely through questions of representation and othering, a more productive approach is to examine photographs as the material traces of the entwined histories of technologies of representation, racial ideologies, objectification, subjectivity and governmentality which collectively contribute to mobilization of photography in processes of racialization. Through this approach the paper avoids reading photographs as passive reflections of history, and instead identifies those moments when entwined histories form particular historical constellations of racial formations and political subjectivities. The paper suggests that this requires a particular type of historical work that seeks to identify how and why the constellations of photography, race, and social history became more illuminated at those moments when political subjectivities are contested, and diminished when questions of racial categorizations seem less politically and culturally salient.

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