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Monolith, the colonial face of landscape photography
Gender, Place & Culture ( IF 1.463 ) Pub Date : 2020-11-03 , DOI: 10.1080/0966369x.2020.1842334
Christabel Devadoss 1
Affiliation  

Abstract

The goal of this paper is to highlight gendered, racial, and colonial politics of landscape photography by examining intersections of patriarchy, Orientalism/colonialism, and representation in its history and current practice. Landscape photography appears on or in screensaver backgrounds, TV commercials, cover art for apps or music, marketing campaigns, posters, textbooks, waiting rooms, corporate offices, hotel rooms, departmental promotional materials, study abroad brochures, among other materials in commercial, public, and private spaces. Despite its proliferation, the field’s practice and roots are rarely addressed. In academia, scholars have separately examined both photographic and environmental discourse as tools of patriarchy and colonialism. As a former professional photographer-turned-academic and woman of South Asian descent, I draw from both my professional and academic perspectives to contribute to and bridge this dialogue. Through examination and analysis of historical and current representation, I demonstrate that landscape photography discourse perpetuates colonial practice and propagates gendered and racial stereotypes. More specifically, I highlight some of the ways that popular landscape photography in the West promotes white, Western colonialism and excludes narratives of women and people of color.



中文翻译:

Monolith,风景摄影的殖民面孔

摘要

本文的目的是通过研究父权制、东方主义/殖民主义及其历史和当前实践中的代表性的交叉点,突出风景摄影的性别、种族和殖民政治。风景摄影出现在屏幕保护程序背景、电视广告、应用程序或音乐的封面艺术、营销活动、海报、教科书、候诊室、公司办公室、酒店房间、部门宣传材料、留学手册以及商业、公共领域的其他材料中。 , 和私人空间。尽管其扩散,该领域的实践和根源很少被提及。在学术界,学者们分别研究了摄影和环境话语作为父权制和殖民主义的工具。作为一名前职业摄影师出身学者和南亚裔女性,我从我的专业和学术角度出发,为这种对话做出贡献并架起桥梁。通过对历史和当前表现形式的检查和分析,我证明风景摄影话语延续了殖民实践并传播了性别和种族刻板印象。更具体地说,我强调了西方流行的风景摄影促进白人、西方殖民主义并排除女性和有色人种叙事的一些方式。

更新日期:2020-11-03
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