Description
Book SynopsisThis pioneering contribution to visual culture studies reveals how banana plantation workers and their families used photography to visually assert their identities and rights as citizens, despite being outmatched by a powerful multinational corporation.
Trade Review"The strengths of Coleman's volume rest on its heretofore never seen visual record of a banana enclave…the subjects of these photographs speak to us in arresting ways." * Journal of Latin American Studies *
"Kevin Coleman's innovative and timely study integrates a critical analysis of the social uses of photography and photographs with the tumultuous political history of twentieth-century Honduras...Coleman's study is a marvelous example of why it remains important for historians to have an ear on the ground (and their eyes on the walls) in the rooms where the stories happened." * Hispanic American Historical Review *
"Coleman is able to give voice to various segments of Honduran society that are otherwise excluded in national histories." * Canadian Journal of Latin American and Caribbean Studies *
Table of Contents
- Prologue. Foto Arte and Corporate Seeing
- One. Photography as a Practice of Self-Forging
- Two. Visualizing Progress
- Three. Vaudeville and Empire
- Four. An Egalitarian Optic
- Five. Transnational Imagescapes
- Six. In Visibility in an Exceptional Space
- Seven. Photographs of a Prayer
- Eight. Possibility Eruption Exists
- Nine. Between Is and Ought
- Epilogue. A Bridge Called Democracy
- Acknowledgements
- Notes
- Bibliography
