Autorentext

Christophe Wall-Romana is professor of French in the Department of French and Italian at the University of Minnesota. He is author of Cinepoetry: Imaginary Cinemas in French Poetry and Jean Epstein: Corporeal Cinema and Film Philosophy and translator of Jean Epstein's The Intelligence of a Machine as well as Gilbert Simondon's Imagination and Invention, both published by the University of Minnesota Press.

Klappentext

A radical assessment of the racial motives underlying the conception of photography and cinema

Conventional histories have long traced the origins of photography and cinema to the goal of reproducing the visible world. Black Light offers a radical counter to this understanding. Investigating the optical, cosmological, and racial thought that surrounded their conception, Christophe Wall-Romana argues that these media developed out of a desire to visualize what cannot be seen.

Taking as its starting point the concurrent invention of the telescope and industrialization of the transatlantic slave trade, Black Light shows how photography and cinema are entangled with two key preoccupations of the Enlightenment: visualizing the mysteries of the cosmos and managing Blackness. Wall-Romana uses literary and technological sources to demonstrate how racial and astronomical thinking interwove throughout the long development of our modern visual media. Retracing the impulses behind nonmimetic photoimaging and dynamic modeling, he exposes the racial underpinnings of research on photosensitive compounds such as silver nitrate and the racist lenses applied in post-Copernican cosmology.

Black Light charts the pivotal period from the seventeenth through the nineteenth century when Europeans were reckoning with "multiple worlds" and natural philosophy was giving way to "mechanical objectivity." Wall-Romana shows how engagement with the nature of light was always entangled with racist discourses on Blackness - especially after the 1801 discovery of the invisible spectrum and its paradox of "black light." Deprovincializing media archaeology, this book presents a groundbreaking historical framework with which to reenvision our dominant modes of seeing and understanding the world.

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Inhalt

Contents

Acknowledgments

Introduction: The Matrix of Photography and Cinema

1. Photosophia: Visualizing the Racialized Cosmos in the Seventeenth Century

2. Kinemorphosis: Cosmological Animation and History's Whiteness

3. Photoimaging Hieroglyphs: Blackening, Anti-Blackness, and Proto-Photography

4. Photology: Black Light, the Wave Theory of Light, and Pre-Photography

5. Selenography: The Moon, Slavery, and the Dark Side of Photography

6. The Graphic Method: Time-Tracing, Colonial Supremacy, and Astrophotography

7. Flammarion's Telechronoscope: The End of Natural History and the Beginning of Cinema

Conclusion: The Matrix of Photocinema and the Moral Universe

Notes

Index