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  • Acknowledgments  vii
    Introduction / Elspeth H. Brown and Thy Phu  1
    Part I. Touchy-Feely  
    1. Photography between Desire and Grief: Roland Barthes and F. Holland Day / Shawn Michelle Smith  29
    2. Making Sexuality Sensible: Tammy Rae Carland's and Catherine Opie's Queer Aesthetic Forms / Dana Seitler  47
    3. Sepia Mutiny: Colonial Photography and Its Others in India / Christopher Pinney  71
    4. Skin, Flesh, and the Affective Wrinkles of Civil Rights Photography / Elizabeth Abel  93
    Part II. Intimacy and Sentiment  
    5. Looking Pleasant, Feeling White: The Social Politics of the Photographic Smile / Tanya Sheehan  127
    6. Anticipating Citizenship: Chinese Head Tax Photographs / Lily Cho  159
    7. Regarding the Pain of the Other: Photography, Famine, and the Transference of Affect / Kimberly Juanita Brown  181
    8. Accessible Feelings, Modern Looks: Irene Castle, Ira L. Hill, and Broadway's Affective Economy / Marlis Schweitzer  204
    Part III. Affective Archives  
    9. Trauma in the Archive / Diana Taylor  239
    10. School Photos and Their Afterlives / Marianne Hirsch and Leo Spitzer  252
    11. Photographing Objects as Queer Archival Practice / Ann Cvetkovich  273
    12. Topographies of Feeling: On Catherine Opie's American Football Landscapes / Lisa Cartwright  297
    13. The Feeling of Photography, the Feeling of Kinship / David L. Eng  325
    Epilogue / Thy Phu and Elspeth H. Brown  349
    Bibliography  357
    Contributors  385
    Index  389
  • Elspeth H. Brown

    Shawn Michelle Smith

    Dana Seitler

    Christopher Pinney

    Elizabeth Abel

    Tanya Sheehan

    Lily Cho

    Kimberly Juanita Brown

    Marlis Schweitzer

    Diana Taylor

    Marianne Hirsch

    Ann Cvetkovich

    Lisa Cartwright

    David L. Eng

    Thy Phu

    Leo Spitzer

  • "I found it a fascinating read. To my knowledge, the book is unique in its coverage of this perspective on photography, and I would recommend this book for anyone interested in photography and visual culture on a theoretical level. Very useful for undergraduate and graduate studies in fine arts, visual culture, gender studies, and, obviously, photography." — Sandra Cowan, ARLIS/NA Reviews

    Reviews

  • "I found it a fascinating read. To my knowledge, the book is unique in its coverage of this perspective on photography, and I would recommend this book for anyone interested in photography and visual culture on a theoretical level. Very useful for undergraduate and graduate studies in fine arts, visual culture, gender studies, and, obviously, photography." — Sandra Cowan, ARLIS/NA Reviews

  • "Feeling Photography is a major book. I don't know of any other collection quite like it. In rigorous, passionate, provocative, and cogent essays, the contributors provide a new way of thinking about visual culture as an affective, and not just ocular, experience." — Elizabeth Freeman, author of Time Binds: Queer Temporalities, Queer Histories

    "This fascinating, important collection of essays by eminent thinkers is a timely one, sure to appeal to the many scholars interested in theories of affect and the history and theory of photography. I truly admire this book, and I thoroughly enjoyed reading it." — Carol Mavor, author of Black and Blue: The Bruised Passion of Camera Lucida, La Jetée, Sans Soleil, and Hiroshima Mon Amour

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  • Description

    This innovative collection demonstrates the profound effects of feeling on our experiences and understanding of photography. It includes essays on the tactile nature of photos, the relation of photography to sentiment and intimacy, and the ways that affect pervades the photographic archive. Concerns associated with the affective turn—intimacy, alterity, and ephemerality, as well as queerness, modernity, and loss—run through the essays. At the same time, the contributions are informed by developments in critical race theory, postcolonial studies, and feminist theory. As the contributors bring affect theory to bear on photography, some interpret the work of contemporary artists, such as Catherine Opie, Tammy Rae Carland, Christian Boltanski, Marcelo Brodsky, Zoe Leonard, and Rea Tajiri. Others look back, whether to the work of the American Pictorialist F. Holland Day or to the discontent masked by the smiles of black families posing for cartes de visite in a Kodak marketing campaign. With more than sixty photographs, including twenty in color, this collection changes how we see, think about, and feel photography, past and present.

    Contributors. Elizabeth Abel, Elspeth H. Brown, Kimberly Juanita Brown, Lisa Cartwright, Lily Cho, Ann Cvetkovich, David L. Eng, Marianne Hirsch, Thy Phu, Christopher Pinney, Marlis Schweitzer, Dana Seitler, Tanya Sheehan, Shawn Michelle Smith, Leo Spitzer, Diana Taylor
     

    About The Author(s)

    Elspeth H. Brown is Associate Professor of History at the University of Toronto. She is the author of The Corporate Eye: Photography and the Rationalization of American Commercial Culture, 1884–1929.

    Thy Phu is Associate Professor of English at Western University in London, Ontario. She is the author of Picturing Model Citizens: Civility in Asian American Visual Culture.
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