New Lenses on China: A Symposium on Foreign Influences and China’s Photographic Frontiers

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ORCID

Emma Reisz http://orcid.org/0000-0002-7366-5092

Notes

1 François Arago, Rapport de M. Arago Sur Le Daguerréotype, Lu à La Séance de La Chambre Des Députés, Le 3 Juillet 1839, et à l’Académie Des Sciences, Séance Du 19 Août (Paris: Bachelier, 1839), 52. The exception was England and Wales, where daguerreotypes were patented. R. Derek Wood, “The Daguerreotype Patent, the British Government, and the Royal Society,” History of Photography, 4, no. 1 (1980): 53–59.

2 “Séance du lundi 7 janvier 1839,” Comptes rendus hebdomadaires des séances de l’Académie des sciences, 8, no. 1 (1839): 6.

3 Xinbao Zhang, Commissioner Lin and the Opium War (Cambridge, MA: Harvard University Press, 1964).

4 Carl Trocki, Opium, Empire and the Global Political Economy: A Study of the Asian Opium Trade 1750-1950 (Routledge, 1999), xii–xiv.

5 Lin Zexu, “Letter to the Queen of England, from the High Commissioner Lin, and His Colleagues,” The Chinese Repository, 8, no. 10 (1840): 500.

6 Visualising China, 1845-1965: Moving and Still Images in Historical Narratives, ed. Christian Henriot and Yeh Wen-hsin (Leiden: Brill, 2012), vii.

7 Terry Bennett, History of Photography in China, 1842-1860 (London: Bernard Quaritch, 2009), 1–2.

8 Significant work on treaty port photography includes Robert Bickers, “The Lives and Deaths of Photographs in Early Treaty Port China,” in Visualising China, 1845-1965: Moving and Still Images in Historical Narratives (Brill, 2012), 3–38; Robert Bickers and others, Picturing China, 1870-1950: Photographs from British Collections, Chinese Maritime Customs Project Occasional Papers, 1 (Bristol: Chinese Maritime Customs Project Occasional Papers, 2007); Portraiture and Early Studio Photography in China and Japan, ed. Luke Gartlan and Roberta Wue (Abingdon: Taylor & Francis, 2017).

9 An important recent article on China and the world is Roberta Wue, “China in the World: On Photography, Montages, and the Magic Lantern,” History of Photography, 41, no. 2 (2017): 171–87.

10 Christopher. Pinney and Nicolas Peterson, Photography’s Other Histories (Durham: Duke University Press, 2003), 14.

11 Deborah Poole, Vision, Race, and Modernity: A Visual Economy of the Andean Image World (Princeton, NJ: Princeton University Press, 1997), 9.

12 Joanna Waley-Cohen, The Sextants of Beijing: Global Currents in Chinese History (London: W.W. Norton, 1999); Lydia He Liu, The Clash of Empires: The Invention of China in Modern World Making (Cambridge, MA: Harvard University Press, 2004); Rudolf Wagner, Joining the Global Public Word, Image, and City in Early Chinese Newspapers, 1870-1910 (Albany, NY: State University of New York Press, 2007).

13 Robert Bickers, “Infrastructural Globalization: Lighting the China Coast, 1860s–1930s,” The Historical Journal, 56, no. 2 (2013): 433.

14 On the concept of “global microhistories,” see Tonio Andrade, “A Chinese Farmer, Two African Boys, and a Warlord: Toward a Global Microhistory,” Journal of World History, 21, no. 4 (2010): 573–91; and Hans Medick, “Turning Global? Microhistory in Extension,” Historische Anthropologie, 24, no. 2 (2016): 241–52.

15 Geoffrey Batchen, “Snapshots,” Photographies, 1, no. 2 (2008): 135.

16 Arthur Augustus Thurlow Cunynghame, The Opium War; Being Recollections of Service in China (Philadelphia: G. B. Zieber, 1845), 76.

17 The photographic attempt is famously described in Stanley Lane-Poole and Frederick Victor Dickins, The Life of Sir Harry Parkes, K. C. B., G. C. M. G., Sometime Her Majesty’s Minister to China & Japan, 2 vols (London: Macmillan, 1894), vol. 1, 31–32. Harry Parkes calls the conical hill “Tsien shan” 尖山.

18 Cf. David Harris, Of Battle and Beauty: Felice Beato’s Photographs of China (Santa Barbara: University of California Press, 2000).

19 Granville Gower Loch, The Closing Events of the Campaign in China: The Operations in the Yang-Tze-Kiang and Treaty of Nanking (London: J. Murray, 1843), 76. Loch calls the hill “Se-shan,” probably 寺山 “temple hill,” after the Dinghui Monastery on Jiaoshan.

20 James Hevia, “The Photography Complex: Exposing Boxer-Era China (1900/1901), Making Civilization,” in Photographies East: The Camera and Its Histories in East and Southeast Asia, ed. Rosalind C. Morris (Durham, NC: Duke University Press, 2009), 79–119.

21 James A. Millward, Eurasian Crossroads: A History of Xinjiang (New York: Columbia University Press, 2007), 55.

22 See for example Jin Yongquan, Hong qi zhao xiang guan: 1956-1959 nian Zhongguo she ying zheng bian = Red flag studio: debates on China’s photography 1956-1959 (Beijing: Jincheng chubanshe, 2014).

23 Ludmilla Jordanova, The Look of the Past: Visual and Material Evidence in Historical Practice (Cambridge: Cambridge University Press, 2012), 131.

24 Alan Trachtenberg, Reading American Photographs: Images as History, Mathew Brady to Walker Evans (New York: Hill and Wang, 1989), xv.

25 “Introduction,” in Photography, Anthropology and History: Expanding the Frame, ed. Christopher Morton and Elizabeth Edwards (Farnham, Surrey: Ashgate, 2009), 8, 5.

Additional information

Notes on contributors

Aglaia De Angeli

Aglaia De Angeli is a sinologist, with a degree in Chinese language and literature and a PhD in history, who specializes in social and legal history of Republican China. She is currently working on the Sir Robert Hart Project at Queen’s University Belfast, and writes also on historical photography in China. She also continues to publish on the Sino-Western relationship.

Emma Reisz

Emma Reisz teaches Asian History at Queen’s University Belfast. Her research focuses on transnational commodities and trade in Southeast and East Asia, and she is joint-PI of the Sir Robert Hart Project (http://sirroberthart.org). Recent publications include “An Issue of Authority: Robert Hart, Gustav Detring and the Large Dragon Stamp”, in The Large Dragon Stamp and the Customs Post of the Qing Dynasty, ed. by Xie Chengzhang and Li Haiyong (Beijing: China National Post and Postage Stamp Museum, 2018), 150–70 and China’s Imperial Eye (Belfast, 2017, with Aglaia De Angeli).