Disillusioned : : Victorian Photography and the Discerning Subject / / Jordan Bear.

• Superior document: Title is part of eBook package: De Gruyter Penn State University Press Complete eBook-Package 2014-2015
• VerfasserIn: Bear, Jordan,
• Place / Publishing House: University Park, PA : : Penn State University Press, , [2021]; ©2015
• Year of Publication: 2021
• Language: English
• Physical Description: 1 online resource (216 p.)
• Other title: Frontmatter --; Contents --; List of Illustrations --; Acknowledgments --; Introduction: The History of Photography and the Problem of Knowledge --; One See for Yourself: Visual Discernment and Photography’s Appearance --; Two Shadowy Organization: Combination Photography, Illusion, and Conspiracy --; Three Same Time Tomorrow: Serial Photographs and the Structure of Industrial Vision --; Four Hand in Hand: Gender and Collaboration in Victorian Photography --; Five Signature Style: Francis Frith and the Rise of Corporate Photographic Authorship --; Six Indistinct Relics: Discerning the Origins of Photography --; Seven The Limits of Looking: The Tiny, Distant, and Rapid Subjects of Photography --; Conclusion: “Normal” Photography: The Legacy of a History --; Notes --; Bibliography --; Index
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9780271089287; 9783110745252
• DOI: 10.1515/9780271089287?locatt=mode:legacy
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: Jordan Bear.

How do photographs compel belief and endow knowledge? To understand the impact of photography in a given era, we must study the adjacent forms of visual persuasion with which photographs compete and collaborate. In photography’s early days, magic shows, scientific demonstrations, and philosophical games repeatedly put the visual credulity of the modern public to the test in ways that shaped, and were shaped by, the reality claims of photography. These venues invited viewers to judge the reliability of their own visual experiences. Photography resided at the center of a constellation of places and practices in which the task of visual discernment—of telling the real from the constructed—became an increasingly crucial element of one’s location in cultural, political, and social relations. In Disillusioned: Victorian Photography and the Discerning Subject, Jordan Bear tells the story of how photographic trickery in the 1850s and 1860s participated in the fashioning of the modern subject. By locating specific mechanisms of photographic deception employed by the leading mid-century photographers within this capacious culture of discernment, Disillusioned integrates some of the most striking—and puzzling—images of the Victorian period into a new and expansive interpretive framework.