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020    1-000-21482-6
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040    MiAaPQ |beng |erda |epn |cMiAaPQ |dMiAaPQ
050  4 TR681.P56 |b.L476 2021
082 0  770.944 |223
082    770.94409034
100 1  Lerner, Jillian, |eauthor.
245 10 Experimental self-portraits in early French photography / |cJillian Lerner.
250    1st ed.
264  1 London ;New York, New York : |bRoutledge, |c2021.
264  4  |c©2021
300    1 online resource (193 pages).
336    text |btxt |2rdacontent
337    computer |bc |2rdamedia
338    online resource |bcr |2rdacarrier
490 1  Routledge history of photography
588    Description based on print version record.
520    "This book explores a range of experimental self-portraits made in France between 1840 and 1870, including remarkable images by Hippolyte Bayard, Nadar, Duchenne de Boulogne, and Countess de Castiglione. Adapting photography for different social purposes, each of these pioneers showcased their own body as a living artifact and iconic attraction. Examining performative specimens of early photography, Jillian Lerner considers the medium's uncanny transformation of identity and embodiment. She highlights the tactical importance of photographic demonstrations, promotions, conversations, and the mongrel forms of montage, painted photographs, albums, and personal correspondence. The author shows how photographic practices are mobilized in diverse cultural contexts, and enmeshed with the histories of art, science, publicity, urban spectacle, and private life in nineteenth-century France. Tracing calculated and creative approaches to a new medium, this research also contributes to an archaeology of the present. It furnishes a prehistory of the "selfie" and offers historical perspectives on the forces that reshape human perception and social experience. This interdisciplinary study will appeal to readers interested in photography, the history of photography, art, visual culture, and media studies"-- |cProvided by publisher.
505 0  Cover -- Half Title -- Series Page -- Title Page -- Copyright Page -- Table of Contents -- List of Illustrations -- Acknowledgments -- Introduction -- Notes -- Chapter 1 The drowned inventor:  Bayard, Daguerre, and the curious attractions of early photography -- The corpse of the drowned inventor -- The morgue -- Modes of display and disclosure -- Recognition -- Publicity, revelation, and theatricality -- Notes -- Chapter 2 The artist as brand:  The many faces and signatures of Nadar -- Signatures, specialties, self-portraits -- From caricature to photography: réclame and the charged photograph -- Montage techniques and contexts -- Notes -- Chapter 3 Poses of a living statue:  Countess de Castiglione and the photographic tableau -- Fournier: the album as self-portrait -- Stealthy touch/female diplomacy -- Sovereign images -- Reframing Countess Castiglione -- Authorship -- Cast from nature -- Dialectical images -- Masquerade as non-disguise -- Non/exhibitionism -- The legs revisited -- Notes -- Chapter 4 Affect as evidence:  Dr. Duchenne and the scientific self-portrait -- Portrait/specimen -- Animated cadaver -- Anatomical illustration -- Authors, instruments, primal scenes -- Affect as evidence/attention -- Notes -- Bibliography -- Index.
600 10 Bayard, Hippolyte, |d1801-1887.
650  0 Photographers |vPortraits.
650  0 Portrait photography |zFrance |xHistory |y19th century.
650  0 Photography |xSocial aspects |zFrance |xHistory |y19th century.
776     |z1-5013-4495-1
830  0 Routledge history of photography.
906    BOOK