Photography in Portuguese Colonial Africa, 1860–1975

Contents
Notes on Contributors
List of Figures
Chapter 1: Caught on Camera: An Introduction to Photography in Portuguese Colonial Africa
The First Photographs in Portuguese Colonial Africa
The Medium Spanning Portuguese Colonial Africa
A Fight to the Finish: Photography, Censorship, Propaganda
Part I: Charting the Empire: Knowledge, Control, Power
Chapter 2: Photographing Tropical Plants in the Late Nineteenth Century: Scientific Practices and Botanical Knowledge Production
The Archive
From the University to the Tropics
From the Tropics to the University
The Construction of a Name
The Construction of an Image
Power in Technique
L’homme à la camera
Chapter 3: Stopping for the Camera: Photographs of the Portuguese Expedition to Báruè, Mozambique, 1902
Introduction
The End of the Báruè Kingdom?
Reading the Photographs
In Tongaland the Fights Began
In Barueland. The Becoming of a Hero
Regular Soldiers in Portuguese Army
Sepoys: India and Moçambique
Celebration
Conclusion
Chapter 4: Ethnographic Album of Angola: Overlaps Between Photography, Knowledge and Empire (1930s–1940s)
The Life Journey of an Amateur Photographer and Ethnographer
Context and Production Conditions of the Photographic Collection
Circulation, Uses and Audiences of the Collection
Disputing Scientific Authority on Angolan Ethnography
The Photography Collection of Elmano Cunha e Costa at the Archive
Conclusions
Chapter 5: An Africanist Photo-ethno-graphy in the Portuguese New State (1928–1974)
Introduction
A Preliminary Historiography of Well-Known and Obscure Works: Estermann’s Career and Photography
Photography and the Making of a Field Africanist: Missionary Life and Science in a Colony
Providing Visual Ethnographic Knowledge as a Young Social Scientist in Colonial Angola
Photographic Portraits of Scientists as Sources of Estermann’s Scientific Knowledge
A Settled Africanist’s Scientific Use of Photography in an Overseas Territory
Conclusion
Chapter 6: To See Is to Know? Anthropological Differentiations on Portuguese Colonial Photography Through the Work of Mendes Correia
Introduction
Photography in the Work of Mendes Correia
The Mozambique Expedition
Photographs in the Book Timor Português (1944)
Dissemination of Knowledge on the Empire: The Making of the Book Raças do Império (1943–1945)
Colonial Photographs in Raças do Império (1943)
Conclusion
Part II: Showcasing the Empire: Propaganda, Media, Exhibitions
Chapter 7: Visions of Wildlife and Hunting in the “Sportsmen’s Paradise”: Exploring Photography from the Mozambique Company’s Archive
Hunting in the “Sportsmen’s Paradise”: Ivory and Elephants in Central Mozambique
Four Hunting Photographs
African Wildlife and Big Game: Representations and Legal Categories
African and European Hunters in Central Mozambique
Final Notes
Chapter 8: Industrial Landscapes in Colonial Mozambique: Images from an Economic Magazine
Images of Industry in a Rural Landscape
Industrial Landscape
White Collar Dreams: The New Colonial Manager and His Middle Managers
A New System of Social Classification
Visual Utopias
Chapter 9: To See, to Sell: The Role of the Photographic Image in Portuguese Colonial Exhibitions (1929–1940)
Giving Order and Meaning to the Overseas World: The Epistemological Function
Proving the Imperial Destiny of Portugal and Salazar’s Victory (Porto, 1934): The Political Function
Stimulating Imperial Business and Helping Colonial Companies (Antwerp, 1930, and Porto, 1934): The Economic Function
Ambiguous Portraits: Unexpected Functions
Chapter 10: Images of Angola and Mozambique in the Imperial Metropolis: Photographic Exhibitions Held at the Palácio Foz (1938–1960)
Introduction
Elmano Cunha e Costa and the Mission to Angola
Exhibitions of Angola, 1937–1951
Mozambique Through a Different Lens
João Augusto Silva: The Image Hunter
Conclusion
Chapter 11: Vision and Violence. Black Women’s Bodies on Display (1900–1975)
Where Are These Object-Images Today?
The Photographic Commercial Studio: “Rosita” Exhibited and Reproduced
On Sale at Street Markets: Reading The Backs of Photographs and Postcards
Contemporary Art Exhibitions: Private Photographs of Portuguese Soldiers Next to African Women
African Colonised Women as a Visual Subject of Postcards and Photographs
Approaching the Subject in Contemporary Scholarship: National and Ethical Differences
Final Remarks: Dealing with the Triviality of the Legacies of Empire
Part III: Holding the Empire: Political Violence, Labour, Struggle
Chapter 12: Images That Kill: Counterinsurgency and Photography in Angola Circa 1961
15 March 1961: Representing the Insurgency
The Violence to Come: The Media, the Military and the Image
What Comes After the Images?
Beyond Images: Counterinsurgency and Retaliation
Chapter 13: Colonial War/Liberation Struggle in Guinea Bissau: From Personal Photographs to Public Silences
Introduction
The Colonial Army and the Liberation Movement: Approaches, Strategies, and Alliances
Forgotten Memories and Struggling Narratives
Hidden Photographs and Public Silences
To Conclude
Chapter 14: Curating the Past: Memory, History, and Private Photographs of the Portuguese Colonial Wars
Imagination Limited: Ideological Surveillance of War Photographs
Soldiers’ Amateur Photography Made Public
Private Photographic Albums and the Performance of the Past
Closing Remarks
Chapter 15: Photographic Colonial Agency: The Work of Agostiniano de Oliveira at the Diamang (1948–1966)
Punctum
Expanding the Field
From ‘Wage Earner’ to ‘Hired Employee’
The Photographer’s Work
Grand Feast
Photography as a Technical Trade
Chapter 16: ‘Our Nightly Bread’: Women and the City in Ricardo Rangel’s Photographs of Lourenço Marques, Mozambique (1950s–1960s)
The City By Day
The City By Night
The City and the Postcolony
References
Index