Ad/dressing History: Thoughts on historical pageants as photographs - The Courtauld Institute of Art

Ad/dressing History: Thoughts on historical pageants as photographs

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Dress Talks, History of Photography

Ad/dressing History: Thoughts on historical pageants as photographs

The Courtauld Institute of Art, Somerset House, Strand, London

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Image: © Victoria and Albert Museum, London

  • Monday 20 March 2017
    PLEASE NOTE: This Date Has Passed
    12:30 pm - 1:30 pm

    Research Forum Seminar Room, The Courtauld Institute of Art, Somerset House, Strand, London, WC2R 0RN

Speaker:

  • Prof. Elizabeth Edwards - De Montfort University

Organised by

  • Dr Rebecca Arnold - The Courtauld Institute of Art
  • Prof. Julian Stallabrass - The Courtauld Institute of Art
  • Dr Elizabeth Kutesko - The Courtauld Institute of Art

The early twentieth century saw a craze for historical pageants – popular re-enactments of the history of a locality. In these the stress on authenticity of historical representation through words, scenes and costume was particularly important. I consider the role of photography in perpetuating these quasi-ritual processes, values and the social efficacy of the pageants. I argue that photographs of pageants were not merely records of pageants, but, through the  temporal complexity and reality effect of photographs, created a subjunctive ‘as if’ of history which extended the reach of the ritual qualities of pageants. This paper is part of a larger ethnographic project on photography and the emergence of public histories 1850-1950.

Elizabeth Edwards is a visual and historical anthropologist. She has worked extensively on the relationships between photography, history and anthropology. She is Professor Emerita of Photographic History at De Montfort University, Honorary Professor in the Anthropology Department at UCL and will soon join the V&A Research Institute as Andrew W. Mellon Visiting Professor.  She was elected a Fellow of the British Academy in 2015. Her current book projects are on photography and the emergence  concepts of the collective ownership of ancient monuments, and on photography and the apparatus and practice of history.

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