An eye for the tropics : tourism, photography, and framing the Caribbean picturesque
著者
書誌事項
An eye for the tropics : tourism, photography, and framing the Caribbean picturesque
(Objects/histories)
Duke University Press, 2006
- : cloth
- : pbk
大学図書館所蔵 全3件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Bibliography: p. [331]-348
Includes index
内容説明・目次
内容説明
Images of Jamaica and the Bahamas as tropical paradises full of palm trees, white sandy beaches, and inviting warm water seem timeless. Surprisingly, the origins of those images can be traced back to the roots of the islands' tourism industry in the 1880s. As Krista A. Thompson explains, in the late nineteenth century, tourism promoters, backed by British colonial administrators, began to market Jamaica and the Bahamas as picturesque "tropical" paradises. They hired photographers and artists to create carefully crafted representations, which then circulated internationally via postcards and illustrated guides and lectures.Illustrated with more than one hundred images, including many in color, An Eye for the Tropics is a nuanced evaluation of the aesthetics of the "tropicalizing images" and their effects on Jamaica and the Bahamas. Thompson describes how representations created to project an image to the outside world altered everyday life on the islands. Hoteliers imported tropical plants to make the islands look more like the images. Many prominent tourist-oriented spaces, including hotels and famous beaches, became off-limits to the islands' black populations, who were encouraged to act like the disciplined, loyal colonial subjects depicted in the pictures.
Analyzing the work of specific photographers and artists who created tropical representations of Jamaica and the Bahamas between the 1880s and the 1930s, Thompson shows how their images differ from the English picturesque landscape tradition. Turning to the present, she examines how tropicalizing images are deconstructed in works by contemporary artists-including Christopher Cozier, David Bailey, and Irenee Shaw-at the same time that they remain a staple of postcolonial governments' vigorous efforts to attract tourists.
目次
Illustrations ix
Abbreviations xiii
Acknowledgments xv
Introduction: Tropicalization: The Aesthetics and Politics of Space in Jamaica and the Bahamas 1
1. Framing "The New Jamaica": Feasting on the Picturesque Tropical Landscape 27
2. Developing the Tropics: The Politics of the Picturesque in the Bahamas 92
3. Through the Looking Glass: Visualizing the Sea as Icon of the Bahamas 156
4. Diving into the Racial Waters of Beach Space in Jamaica: Tropical Modernity and the Myrtle Bank Hotel's Pool 204
5. "I Am Rendered Speechless by Your Idea of Beauty": The Picturesque in History and Art in the Postcolony 252
Epilogue: Tropical Futures: Civilizing Citizens and Uncivilizing Tourists 297
Notes 307
References 331
Illustration Credits 349
Index 355
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