Appendix III. Selected Family Photographs

2021 ◽  
pp. 118-128
Keyword(s):  
Family Photographs

Transforming Frank Peasgood. Family Photographs and Shanghai Narratives

2007 ◽  
Vol 6 (1) ◽  
pp. 129-142
Author(s):  
Robert Bickers
Keyword(s):  
Police Service ◽  
Family Photographs ◽  
Municipal Police

AbstractWhat narratives can be fashioned by the historian from visual documents, and how might this relate to the narrative intention of those who created them? This paper explores the handful of surviving photographs recording the career of a British member of the Shanghai Municipal Police between 1929 and 1943. War and internment destroyed most of the visual records that former coalminer Frank Peasgood had collected during his police service, saving only those that had accompanied letters he had sent home to his family. The narrative he created with these can be clearly presented, and is discussed in the first part of the paper. Clearly, only visual documents could so powerfully demonstrate the transformation undergone by a man coming from his background, and provide the tools for showing that transformation. The photographs are then revisited and a further, complicating, layer of narrative is added, one which puts the policeman back into his place as a colonial subject.

scholarly journals ‘I Looked and Beheld a Country’: Home Movies, Homesteads and the Family Archive

2020 ◽  
Vol 4 (1) ◽  
Author(s):  
Daniel Clayton Rathbone
Keyword(s):  
Southern Africa ◽  
Family Life ◽  
Family Identity ◽  
Home Movies ◽  
Family Photographs ◽  
The Family ◽  
British Colonial ◽  
The Creation ◽  
The 1950S

Home movies, like family photographs, are important parts of family life, acting as ways to frame the idea of the family and connect different, inter-generational memories together. Footage of key moments helps develop a family identity, as well as locate it within broader historical contexts. As a result, home movies provide an incredibly useful source with which to examine the intersections between narratives of the family, nation and belonging. Utilising a collection of personal home movies, this paper will explore how these themes are touched on within the context of British Colonial Southern Africa. These films explore how ideas of family identity are rooted within ideas of home and belonging, articulating a conceptualisation of colonial Southern Africa as a ‘home-scape’ for descendant of British settlers living there during the 1950s and 1960s. These home movies draw attention to the creation of the idea of home and family, while also producing disruptive elements to those narratives.

scholarly journals Public Performance of Private Interviews: Reinserting the Self into the Family Narrative

2021 ◽  
Vol 11 (1) ◽  
pp. 41-52
Author(s):  
Alina Predescu
Keyword(s):  
The Self ◽  
Live Performance ◽  
Public Performance ◽  
Home Movies ◽  
Surgical Tool ◽  
Family Photographs ◽  
Family Narrative ◽  
The Family ◽  
Private And Public

Serban Oliver Tataru and Alfred Guzzetti are filmmakers that investigate on camera the role of memory in the construction of family history. They interview family members, gather old home movies and family photographs, and dig for public archival footage, in an effort to assume their position within a personal historical continuum, and to affirm their agency within their familial community. In their creative affirmation of generational subjectivity, they push against accepted familial narratives, and use the camera as a surgical tool that troubles lingering wounds beyond the surface of old images. In Anatomy of a Departure (2012), Romanian-German filmmaker Serban Oliver Tataru interviews his parents about their decision to emigrate from Ceausescu’s Romania while he was a teenager, scrutinizing on camera the conditions and consequence of a life-changing decision. While the dynamic of filming one’s own family is reminiscent of home movie tropes, and the tension built around sharing delicate memories reveals an intimacy usually intended to remain private, the film proposes a multilayered performance of the authorial self. As the film reveals a self-portrait set against the familial portrait (Marianne Hirsch), an inherent performative element acts as the necessary mediator between private and public, between ethic, aesthetic and politic. Negotiating between a restorative and a reflective nostalgia (Svetlana Boym), Tataru proposes a live performance of homecoming.

Louis XIII, Richard I, and the Duchess of Devonshire: Nineteenth-Century Jews in Fancy Dress Costume

Images ◽  
2020 ◽  
pp. 1-28
Author(s):  
Michele Klein
Keyword(s):  
Nineteenth Century ◽  
British Empire ◽  
Public And Private ◽  
Cultural Expression ◽  
Self Image ◽  
Family Photographs ◽  
Mise En Scene ◽  
Formed Part ◽  
Social Messages ◽  
Material Record

Abstract In the nineteenth century, fancy dress activities and their material record formed part of the mise-en-scène of the Jewish elite’s self-fashioning. Family photographs and press reports of Jews in costume cast new light on the visualization of wealthy Jews. These Jews actively participated in the fancy dress culture of the elites, a popular form of cultural expression that was deemed a powerful way to convey social messages. In the British Empire, Europe, and North America, affluent Jews negotiated their feelings of solidarity and difference among non-Jews. They explored and articulated their self-image and group identity by appropriating others’ history and culture in public and private dressing-up amusements. Fancy dress, this article argues, enabled Jews to question who they wanted to be and communicate their desires to their Jewish and non-Jewish peers.

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