Download Imprisoned in a Luminous Glare: Photography and the African by Leigh Raiford PDF
By Leigh Raiford
In Imprisoned in a Luminous Glare , Leigh Raiford argues that during the last 100 years activists within the black freedom fight have used photographic imagery either to realize political attractiveness and to increase a unique visible vocabulary approximately black lives. Raiford analyzes why activists selected images over different media, explores the doubts a few contributors had in regards to the ideas, and exhibits how images grew to become an more and more potent, if complicated, instrument in representing black political pursuits. supplying readings of using images within the antilynching circulation, the civil rights move, and the black strength circulate, Raiford makes a speciality of key ameliorations in know-how, society, and politics to appreciate the evolution of photography's deployment in taking pictures white oppression, black resistance, and African American existence. through placing images on the heart of the lengthy African American freedom fight, Raiford additionally explores how the recirculation of those indelible pictures in political campaigns and artwork shows either provides to and complicates our reminiscence of the occasions.
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Extra info for Imprisoned in a Luminous Glare: Photography and the African American Freedom Struggle
Example text
Full-page advance copies were sent to each member of the Senate on November 20. ” Assistant secretary Walter White and publicity director Herbert Seligmann designed the advertisement, which was 30 NO RELATION TO THE FACTS ABOUT LYNCHING paid for by the Anti-Lynching Crusaders, a short-lived umbrella organization of black women’s groups nationwide dedicated to raising money and awareness for the NAACP’s antilynching campaign. Following the strategy pioneered by activist Ida B. Wells, the ad combined lynching statistics, a refutation of rape as the cause of lynching, and an outline of the Dyer AntiLynching Bill itself, ultimately affirming the constitutionality of the bill, one of the alleged reasons for its being contested.
By uncovering and pulling apart the threads of white supremacy and black resistance invested in these photographs, we can also begin to understand how lynching photography unmakes racial identity. Indeed, the very 34 NO RELATION TO THE FACTS ABOUT LYNCHING need to use photographs in campaigns for racial domination or racial justice points to cracks and fissures in these identities. Exposed are the social, sexual, political, and class anxieties that the framing of these images attempt to deny. In their various contexts and incarnations, we can discern how lynching photographs create and coerce, magnify and diminish, the appearance of unified racial identities.
Throughout the nineteenth century, African Americans understood the capacity of the medium to publicly convey notions of black criminality and inferiority as well as to project images of dignity and gentility. Scientists used photographs as visible evidence to support theories of anthropomorphic difference and racial hierarchy. Abolitionists circulated photographs of “whip-scarred” slaves to solicit sympathy, anti-Confederate sentiment, and contributions. Likewise, Frederick Douglass and Sojourner Truth sat for portraits from which carefully cultivated images of integrity and respectability emerged.