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"PICTURE MAN": SHOKI KAYAMORI AND THE PHOTOGRAPHY OF COLONIAL ENCOUNTER IN ALASKA, 1912-1941.

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Title: "PICTURE MAN": SHOKI KAYAMORI AND THE PHOTOGRAPHY OF COLONIAL ENCOUNTER IN ALASKA, 1912-1941.
Authors: HU PEGUES, JULIANA1
Source: College Literature. Winter2014, Vol. 41 Issue 1, p90-118. 29p.
Subject Terms: Japanese people, Photographers, Liminality, Colonies in art, Modernity
Geographic Terms: Yakutat (Alaska), United States
People: Kayamori, Shoki
Abstract: This essay focuses on the life and photographs of Shoki Kayamori, a Japanese migrant worker who settled in Yakutat, Alaska, in the 191os. For three decades he photographed the everyday activities of the town's denizens, but when World War II escalated, Kayamori committed suicide as rumors circulated that he was a spy. Based on nearly 7oo existing Kayamori photographs, this essay argues that Kayamori's visual archive demonstrates multiple liminal intimacies. In his photographic work, Kayamori crossed racial and gendered boundaries to represent both indigeneity and racial heterogeneity within Alaska's colonial encounter. Kayamori's liminal status also allowed him to capture Tlingit strategies for resistance outside of the traditional-modern binary. The framework of liminal intimacy allows for yet another type of reading, between the boundaries of Asian-American studies and Native studies, in order to elucidate a disavowed militarization and surveillance that highlights colonialism and modernity as co-constitutive processes. [ABSTRACT FROM AUTHOR]
Copyright of College Literature is the property of Johns Hopkins University Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)
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  Data: This essay focuses on the life and photographs of Shoki Kayamori, a Japanese migrant worker who settled in Yakutat, Alaska, in the 191os. For three decades he photographed the everyday activities of the town's denizens, but when World War II escalated, Kayamori committed suicide as rumors circulated that he was a spy. Based on nearly 7oo existing Kayamori photographs, this essay argues that Kayamori's visual archive demonstrates multiple liminal intimacies. In his photographic work, Kayamori crossed racial and gendered boundaries to represent both indigeneity and racial heterogeneity within Alaska's colonial encounter. Kayamori's liminal status also allowed him to capture Tlingit strategies for resistance outside of the traditional-modern binary. The framework of liminal intimacy allows for yet another type of reading, between the boundaries of Asian-American studies and Native studies, in order to elucidate a disavowed militarization and surveillance that highlights colonialism and modernity as co-constitutive processes. [ABSTRACT FROM AUTHOR]
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  Data: <i>Copyright of College Literature is the property of Johns Hopkins University Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract.</i> (Copyright applies to all Abstracts.)
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      – SubjectFull: Photographers
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      – SubjectFull: Liminality
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