MC 281 is the second in the required sophomore sequence for Social Relations and Policy. In this course, we will explore the interactions and experiences between and among various groups in American history. We will consider how Americans both defended and contested prevailing definitions of fitness for citizenship and inclusion in the political process and American life, and how groups sought to gain access to social and political equality. This course focuses on the history of relationships within and between different groups in the United States, and explores the complexities of those relations. Rarely centered solely on race or ethnicity, such interactions were also affected by gender, sexuality, religion, nation, and class. We will also explore the shifting definitions of race and ethnicity. Students will analyze not only the experiences of the different groups, but also the connections between them to assess the larger dynamics and their implications for public policy.

Whiteness of a Different Color: European Immigrants and the Alchemy of Race

Along The Archival Grain. Epistemic Anxieties And Colonial Common Sense

Camera Lucida Reflections On Photography

In the Wake

visual anthropology photography as a research method is available in our book collection an online access to it is set as public so you can get it instantly. Our book servers spans in multiple locations, allowing you to get the most less latency time to download any of our books like this one. Merely said, the visual anthropology photography as a research method is universally compatible with any devices to read.

Visual Anthropology Photography As A Research Method

In the late nineteenth century, corporate managers began to rely on photography for everything from motion studies to employee selection to advertising. This practice gave rise to many features of modern industry familiar to us today: consulting, "scientific" approaches to business practice, illustrated advertising, and the use of applied psychology. In this imaginative study, Elspeth H. Brown examines the intersection of photography as a mass technology with corporate concerns about efficiency in the Progressive period. Discussing, among others, the work of Frederick W. Taylor, Eadweard Muybridge, Frank Gilbreth, and Lewis Hine, Brown explores this intersection through a variety of examples, including racial discrimination in hiring, the problem of photographic realism, and the gendered assumptions at work in the origins of modern marketing. She concludes that the goal uniting the various forms and applications of photographic production in that era was the increased rationalization of the modern economy through a set of interlocking managerial innovations, technologies that sought to redesign not only industrial production but the modern subject as well.

The Corporate Eye: Photography and the Rationalization of American Commercial Culture, 1884-1929

This article analyzes the work of Baron Adolph de Meyer, a pictorialist whose work revolutionized fashion photography at Vogue between 1913 and 1922. After a brief discussion of de Meyer's life and work in Europe before emigrating to New York City in 1914, the essay draws on recent scholarship on “public feelings” to investigate the queer context of de Meyer's photographic work for US Vogue in the years surrounding the First World War. The essay argues that de Meyer brought to Vogue a specific Edwardian structure of feeling defined by a revolt against the rationality of the second industrial revolution and informed by a transatlantic aesthetic movement that privileged emotional life and expression. De Meyer brought together the aesthetic movement with a queer transatlantic counterculture whose style, borrowing from Jose Munoz, can be characterized by “affective excess.” De Meyer's collaborator in several of the Vogue essays was the mannequin and Ziegfeld model-showgirl Dolores, who complemented de...

De Meyer at Vogue: Commercializing Queer Affect in First World War-era Fashion Photography

Despite increasing interest in visual studies, diaspora studies, and oral history, critics have not fully accounted for the complexity of family photography. The Family Camera is a collaborative research project that collects domestic images and oral histories about them as a means of tracing new histories of migration. This article describes our work in collecting both family photographs and oral histories about them, with a specific focus on refugee policies, Cold War dislocations that result from the push of violence and the pull of economic opportunity, queer and trans families, family reunification, and transnational adoption. We outline the state of the field when it comes to family photography, and explain how The Family Camera addresses issues that arise in contemporary debates in this area, namely addressing some of the limitations of visual studies (which do not sufficiently attend to the multisensory registers of this genre) and oral history (which treat images as means of eliciting mem...

The Family Camera Network

This article describes the relationship between family photography, oral history, and feeling. The authors explore questions about affect and family photography in relationship to black, queer rela...

The Cultural Politics of Aspiration: Family Photography’s Mixed Feelings:

This journal article is co-authored by Sara Davidmann and Assoc. Prof Elspeth Brown, University of Toronto, Canada. 

The article discusses photographs taken by Sara Davidmann and oral history work by Assoc. Prof Elspeth Brown. The article explores the ‘Ken. To be destroyed’ family album photographs and a photograph album created by Prof. Stephen Whittle OBE, photographed by Davidmann. Issues of control and collaboration, queering the archive and identity politics in Brown’s and Davidmann’s research projects are outlined. The article concludes with an examination of the concerns of erasure, forgetting and remembering that are brought to the surface in Davidmann’s photographs.

Elspeth H. Brown

Papers

The Corporate Eye: Photography and the Rationalization of American Commercial Culture, 1884-1929

De Meyer at Vogue: Commercializing Queer Affect in First World War-era Fashion Photography

The Family Camera Network

The Cultural Politics of Aspiration: Family Photography’s Mixed Feelings:

Queering the Trans* Family Album. Elspeth H. Brown and Sara Davidmann, in conversation