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E-book Canada in the Frame : Copyright, Collections and the Image of Canada, 1895-1924
Geography as a concept and as a discipline has provided a number of ways into the analysis of this collection. In this and subsequent chapters, the ideas of historical and cultural geographers are deployed as tools to generate new perspectives on the collection, with particular regard to relationships between colonial settlement and image-making, the visual economies of colonial expansion and the historical geography of Canada. It is fortunate too that there is a wide body of scholarship on the his-tory of photography in Canada (some of this also being published by geographers). This book connects to the writings developed by authors from across the academic, library and archival sectors, contributing to a discourse well established since the late twentieth century.7 On top of this, the key to understanding such a collection is to engage effectively with its complexity; as a result, a wide range of other literatures will be drawn upon, including work in Canadian history, imperial history, the history of photography, history of science, anthropology and museum and library studies.The purpose of this introductory chapter is twofold. Firstly, it provides an historical perspective on the development of colonial copy-right legislation, in order to illuminate the legal and institutional con-text in which the collection was established. Secondly, it seeks to outline in greater depth the key concepts which have informed the research –especially arguments concerning the ‘imperial archive’, as developed by Thomas Richards and others; the notion of ‘visual economy’, drawn from the work of Deborah Poole on the Andean image world and adapted here for use in a very different context; and recent work which has emphasised the value of a spatial perspective on the historical geography of colony, Dominion and empire.
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