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Full Description
In Private Subjects, John Peffer presents perspectives about everyday uses of photography in predominantly Black South African communities during apartheid to give insight into how these images are seen through the eyes of those who own them today. In South Africa, portrait photography was used to create positive self-images during times of hardship and subjection. Peffer shows how owners limited the distribution of their photographs to close networks of family and friends as a means of establishing control over their own image. He develops an intersubjective method for writing about vernacular photographic experience that keeps the people that appear in those photographs at the center of the story, creating a space to converse about race and history in their own ways rather than be explained from outside the frame. He then considers cultural and legal histories of the ownership of the self-image, theorizes an ethics for looking at others' private family photographs, and argues for a model of writing and scholarship that protects people's desires for opacity.
Contents
Introduction: What photography was for us 1
Part I. Sample Album
1. We need to respect each other's space 21
2. They were never hung in my house 23
3. I can imagine the ladies 28
4. That picture was always moving 35
5. It's better when you have a stamp 38
6. Zulu dancers, yes 47
7. It was during the khehla 51
8. Ishayile, when you knock off 55
9. Lazarus 58
10. Sharp Shooter and sunglasses 65
11. Onderdorp 80
12. Ekstra mooi 90
13. She used to take pictures before going to work 101
14. These are all our deities 108
15. Zombietown 113
16. Peach tree 119
17. They took two and made it one 122
18. I had my own personal issues 136
19. If you knew him, you could tell 138
20. Definitely 1975 143
21. Where they are laughing 150
22. That will make a dream 157
Part II. Owners of Their Faces
23. A litany for opacity 169
24. Distributed persons 183
25. Copyright and portrait photography 193
26. Privacy and portrait photography 198
27. I !&#$%&*own Seydou KeÏta 202
28. Best practices 207
Acknowledgments 217
Notes 221
Bibliography 233
Index 237
