Please use this identifier to cite or link to this item: http://hdl.handle.net/2440/114618
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dc.contributor.authorSamuelson, M.en
dc.date.issued2018en
dc.identifier.citationCritical Arts: A Journal of South-North Cultural Studies, 2018; 32(1):75-91en
dc.identifier.issn0256-0046en
dc.identifier.issn1992-6049en
dc.identifier.urihttp://hdl.handle.net/2440/114618-
dc.description.abstractCapital Art Studio is the oldest photographic studio in Zanzibar today, and is unique in having survived the revolution of 1964. This essay reflects on the practices of remembrance performed by father and son, Ranchhod and Rohit Oza, in the studio since its inception in 1930. It does so by attending to the double nature of the photograph—simultaneously “two-dimensional image” and “three-dimensional thing”—and its paradoxical inscription of the changing times in Zanzibar. Focusing on the studio’s image-making practices and their material manifestations, the essay reflects on its presentation of competing visions of vernacular modernity and their states of ruination.en
dc.description.statementofresponsibilityMeg Samuelsonen
dc.language.isoenen
dc.publisherTaylor & Francis (Routledge)en
dc.rights© Unisa Press 2018en
dc.subjectMemory; photography; ruination; Stone Town; Zanzibaren
dc.title“You’ll never forget what your camera remembers”: image-things and changing times in Capital Art Studio, Zanzibar’en
dc.typeJournal articleen
dc.identifier.rmid0030088799en
dc.identifier.doi10.1080/02560046.2018.1431300en
dc.identifier.pubid392136-
pubs.library.collectionMedia Studies publicationsen
pubs.library.teamDS10en
pubs.verification-statusVerifieden
pubs.publication-statusPublisheden
dc.identifier.orcidSamuelson, M. [0000-0002-5070-1046]en
Appears in Collections:Media Studies publications

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