Synopses & Reviews
During the late nineteenth and early twentieth centuries, writers and anthropologists believed that the worldandrsquo;s primitive races were on the brink of extinction. They also believed that films, photographs, and phonographic recordingsandmdash;modern media in their technological infancyandmdash;could capture lasting relics of primitive life before it vanished into obscurity. For many Americans, the promise of media and the problem of race were inextricably linked. While professional ethnologists tried out early recording machines to preserve the sounds of authentic indigenous cultures, photographers and filmmakers hauled newfangled equipment into remote corners of the globe to document rituals and scenes that seemed destined to vanish forever.
In Savage Preservation, Brian Hochman shows how widespread interest in recording vanishing races and disappearing cultures influenced audiovisual innovation, experimentation, and use in the United States. Drawing extensively on seldom-seen archival sourcesandmdash;from phonetic alphabets and sign language drawings to wax cylinder recordings and early color photographsandmdash;Hochman uncovers the parallel histories of ethnography and technology in the turn-of-the-century period. While conventional wisdom suggests that media technologies work mostly to produce ideas about race, Savage Preservation reveals that the reverse has also been true. During this period, popular conceptions of race constructed the authority of new media technologies as reliable archives of the real.
Brimming with nuanced critical insights and unexpected historical connections, Savage Preservation offers a new model for thinking about race and media in the American contextandmdash;and a fresh take on a period of accelerated technological change that closely resembles our own.
Editors Izquierdo, Broughton, Costa, and Rodr<’i>guez presentstudents, academics, researchers, and mathematicians with a collection of papers selected from research presented at theConference in Honor of Emilio Bujalance on Reimann and Klein Surfaces, Symmetries and Moduli Spaces, held in June of 2013 inLinköping, Sweden. The papers that make up the bulk of the text cover a wide variety of related subjects, including Jacobians ofcurves with superelliptic components, maximal bordered surface groups versus maximal handlebody groups, fileds of definition of uniform dessins on quasiplatonic surfaces, and many others.Annotation ©2015 Ringgold, Inc., Portland, OR (protoview.com)’i>
Hochman presents readers with an innovative model for theconsideration of race and media in the context of late nineteenth and early twentieth century attempts to preserve the cultures ofvanishing aboriginal tribes through film, photographs, and phonographic recordings. The author covers media evolution, the workof the autorchrome, race and writing in the age of the phonographic, and other related subjects, arguing that the period in questionrepresents a time of extreme acceleration of technological change that closely mirrors our own. Brian Hochman is a faculty member of Georgetown University, Washington, D.C.Annotation ©2015 Ringgold, Inc., Portland, OR (protoview.com)
About the Author
Brian Hochman is assistant professor of English at Georgetown University.
Table of Contents
Introduction: The Passamaquoddy Experiment
1. Media Evolution: Indians, Alphabets, and the Technological Measures of Man
2. Representing Plains Indian Sign Language
3. Originals and Aboriginals: Race and Writing in the Age of the Phonograph
4. Race, Empire, and the Skin of the Ethnographic Image
5. Local Colors: The Work of the Ethnographic Autochrome
Postscript: Fictions of Permanence