How does Seydou Keïta's Untitled (Family Portrait) challenge colonial photography?
What will be an ideal response?
The ideal Answer should include:
1. During colonialism, Europeans photographed Malians as ethnographic subjects, exotic others, or naked "savages," so as to belittle African people as inferior to Europeans.
2. Keïta used a shallow depth of field so that his sitters pop out against the patterned fabrics he used as backdrops.
3. In Untitled (Family Portrait), Keïta contrasted the heavy, strong patterns of the wife's clothing with stark white worn by her husband and child, and the black-and-white-contrasts created by the natural light of the outdoor setting allow the sitters to occupy a visually luxurious space.
4. Keïta's elegant composition monumentalizes individuals whose power and pride are communicated through their commanding poses, impeccable dress, and relaxed gestures.
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Several stage directors left New York to go work in Hollywood following:
A. the introduction of sound film. B. a prolonged strike by New York theater guilds during the early 1930s. C. the U.S. declaration of war on Germany and Japan. D. the blacklisting of suspected Communists in American theater.
Where do people who make decisions (Director, TD, Producer, etc.) stay during production?
What will be an ideal response?
Which scene from the life of Jesus shows the archangel Gabriel informing the Virgin Mary that God has chosen her to bear his Son?
A. Visitation B. Annunciation C. Nativity D. Baptism
The style of the ________ murals is distinctive, depicting narrative themes but devoid of action.
a. Jerusalem b. Timgad c. Ravenna d. Dura-Europas