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Abstract: Mobility, in the sense of freedom of persons choosing to move or reside in a state in which they have no prior citizenship, was one of the four original “freedoms” defined in the treaty that ratified European Union member states in 1957.1 In the past decade, this particular freedom, the freedom of movement, appears to have become significantly eroded. Mobility in the sense of migration, that is, mobility of persons for reasons of residency or employment, has become a point of contention among member states that it has divided more than unified, with measures affecting immigrants, refugees and asylum seekers featuring at the core of recent electoral agendas. Certain member states’ deterrence of the mobility of migrants from outside the EU has resulted in the return to protocols and practices of controlling movement into and out of sovereign territories, among the most conspicuous of which has been the re-establishment of a – by now largely defunct – network of nation-state borders. And while the reappearance of new walls, barricades and barbed wiring alongside certain nation-state borders since the mid-2010s have made headlines, there have been other measures with less press and physical visibility that have been set in place to manage and enforce mobility.2 The photographic identity document, meaning a document of state-issued identity certification, has become one such mobility management measure.
Keywords: cultural history, migration studies, history of art, history of visual culture, media archaeology, media studies
Published in RUNG: 12.02.2024; Views: 394; Downloads: 0
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Abstract: The British photographers Agnes Bulwer (1856– 1940) and her sister Dora Ellinor Bulwer (1864– 1948) left a legacy of circa 1300 photographs and 890 negatives, date from 1890 to 1913, to the British School at Rome. The photographs are principally of landscapes taken in Rome and the surrounding countryside (the Roman Campagna) but also further afield in Italy and abroad. Many include archaeological and natural sites as well as monuments, art works, and homes and gardens in urban or rural scenes. Their landscape photographs offer a perspective that challenged the existing masculine gaze as developed in landscape photography under the colonial project of the British Empire. Unfettered by the archaeologist’s need for ascetic facts, the Bulwers pioneered an unusual vision of landscape, inspired by the progressive international environment of post-Unification Italy. Agnes and Dora Bulwer often photographed women, whether Italian peasants or travelling companions, presenting a social and gendered gaze that helps to reconsider this period in the light of a dawning international humanitarianism. In spite of their photographic legacy, Agnes and Dora Bulwer remain relatively unknown in the growing field of rediscovered early female photographers connected to archaeology or travel photography. This article reveals their work within a cross-cultural, historical and phenomenological analysis, contributing a new chapter to women’s photographic history, to travel and landscape photography and to the history of British photographers working in Italy.
Keywords: history of photography, landscape photography, archive, gender, archaeology, cultural tourism, travel photography, Italy, Rome, Roman Campagna, Post-Unification, Post-Risorgimento, Britain, British Empire, United Kingdom, colonialism, Victorian, Edwardian, humanitarian socialism, nineteenth century, twentieth century
Published in RUNG: 11.01.2023; Views: 1362; Downloads: 0
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Keywords: film studies, Southeast European cultural history, contemporary art
Published in RUNG: 11.12.2020; Views: 2266; Downloads: 0
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Keywords: film history, animation, Central Eastern European cultural history, cultural politics of political transition
Published in RUNG: 11.12.2020; Views: 2148; Downloads: 0
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