This thesis investigates the relationship between environment and empire in late tsarist Central Asia, and suggests that the making and unmaking of space was integral to the imperial experience. It contends that land and its representation were crucial to processes undertaken on local and imperial scales to re-fashion parts of Central Asia from a ‘vast’, ‘alien’ and ‘inhospitable’ colony into an integrated frontier of empire. In examining the environment as a site for the physical enactment and negotiation of Russian rule, the chapters investigate how imperial settlers interacted with the region’s built and natural landscapes, through the planning of transport routes, the creation of settlements, irrigation, afforestation and planting projects. I use visual sources as the project’s access points into the Russian spatial imaginary: vital interfaces between material and metaphorical space that documented the changing environment but were also used to project future ambitions, to inscribe meaning, and to appropriate, segregate, contest and re-order terrain. Environment, image and the spatial imagination were entwined in a symbiotic relationship, with attempts to modify Central Asia’s landscapes, and the visual representations of these actions, revealing that the concept of Turkestan as a monolithic colonial space underwent significant fragmentation. The physical and imaginative transformation of terrain gave rise to new characterisations of the region as a modern, connected, innovative and fertile site, notions that were debated and disputed by a variety of state and sub-state actors in Central Asia and the imperial centre. I argue that the public circulation of images speaks to the importance of the environment as a visual component in the legitimisation of Russia’s presence on Central Asian soil, and as a key arena for the evolution of local and imperial spatial identities, some of which threatened to precipitate the eventual dissolution of the Turkestan Governor Generalship.

Space, image and display in Russian Central Asia, 1881-1914

American Photojournalism Comes of Age. Michael L. Carlebach. Washington and London: Smithsonian Institution Press. 1997.

American Photojournalism Comes of Age

/pdf/anatolij-f-koni-1844-1927-zwischen-herrscher-und-volk-ein-kesmc249g1.pdf

Anatolij F. Koni (1844−1927) zwischen Herrscher und Volk : Ein liberaler Jurist und seine autobiografische Praxis in Zarenreich und Sowjetunion (Volume 2)

For the first time, this paper studies the evolution of photojournalists' bylines compared to reporters' bylines, which proved a sensitive barometer of longitudinal changes in reporters' status, professionalism, creativity and authorship. Based on a sample of 8800 photographs and news items published across the twentieth century in five quality national dailies: New York Times, The Times of London, Le Figaro, Irish Times and Ha'aretz, this paper shows that photojournalists were discriminated against substantially, consistently and internationally throughout the entire century, lagging not only behind reporters, but also behind the growing centrality of their own photographs. This paper suggests that attribution of photojournalists was hindered by the perception of photography as an objective reproduction of reality that has a weaker claim to attribution; by publishers being attributed of photographic authorship; by the efforts of textual journalists to preserve their superior jurisdiction over news report...

Textual DNA: The hindered authorship of photojournalists in the Western press

Widespread circulation of photography through the popular illustrated press turned readers of the news into spectators of social performance. Pictures of current events addressed consumers more directly than the daily papers. They offered a realistic depiction of lived experience, gave the impression of bearing witness to history, and allowed readers to interpret what they saw in conjunction (or in counterpoint) to what they read. Through the camera's lens, people were transported to faraway places and brought face-to-face with strangers, each image establishing an intimate connection between the private lives of consumers and the public "world outside." (1) The immediacy of photography and the visceral reactions it evoked, so unlike the neutral language of print journalism, made news magazines both immensely popular with readers and highly profitable publishing ventures. But more important, the advent of photojournalism marked the birth of a modern mass media, one dominated increasingly by photography and capable of drawing millions of spectators into an artificial reality, which had the power to inspire real-world actions. The story of Russian photojournalism is fundamentally about the creation of a new visual language that transformed illustrated journals into full-fledged news magazines. Together, publishers, editors, and photographers took advantage of innovations in photography and print technology and produced a slick weekly that appealed to a general, middle-class audience. In contrast to serialized fiction and hand-drawn images, which dominated magazines initially, photography was used to communicate the news. Though international in scope, these pictures primarily focused on the activities of Russia's rising professional class, which had evolved since the Great Reforms into a politically ambitious and influential segment of society. (2) In a sense, as prominent members of this class, publishers produced news magazines for themselves. The illustrated press offered members of civil society immense, nationwide exposure--the photographs both reflecting and reinforcing their values, public identity, and sense of social integration. However, these publications did not truly take off until they embraced a wider audience, which consisted increasingly of migrant workers from the countryside, who saw in magazines living models of the bourgeois success they aspired toward. Photographers and editors collaborated to turn the visual landscape of photo journalism into a convincing pseudoenvironment, which Russia's middle classes shared with celebrated figures from around the world. (3) Through the illustrated press readers saw themselves as they wished to be seen--as modern, European, and politically relevant. And as editors adopted more sophisticated techniques of visual storytelling, the social reality constructed on the page became an increasingly convincing portrait of Russia at the beginning of the 20th century. This article locates photojournalism at a crossroads in communications technology, specifically at the moment when magazine publishers began reproducing high-quality photographs alongside text. (4) The audience for early Russian photojournalism varied in terms of interest, education, and social standing, and this diversity was reflected on the newsstand. The range of publications included supplements to daily papers, periodicals that catered to interests in science, hunting, and the theater, and so-called "family journals," which in themselves covered a wide spectrum of literary and artistic tastes. (5) How consumers used these publications depended largely on the magazine's profile. Initially, essays and serialized fiction outweighed all other content; magazines offered the reader an elevated literary experience, often supplemented by sketches and drawings. But as the news media became increasingly mixed, many publications began to eschew prose in favor of more photography. At the same time, the amateur market in cheap, handheld cameras encouraged people to regard images as signifiers of social information. …

Another Way of Telling the News: The Rise of Photojournalism in Russia, 1900–1914

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Another Way of Telling the News: The Rise of Photojournalism in Russia, 1900–1914