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sity of Chicago Press, 1997.PHOTOGRAPHY IN AFRICA: NORTH
North Africa’s twentieth century photographic his-
tory was shaped primarily by the colonial era and
the extended struggle for national liberation. Per-
haps because of greater European immigration and
integration into the global economy in the nine-
teenth century, photography by and for the colo-
nial class became quite highly developed in the first
half of the twentieth century. Colonization, tour-
ism, and a taste for the Orientalist picturesque
fueled the consumption of photographs of North
Africa in West.
Colonial authorities in the first half of the twen-
tieth century—French, English, and Italian—de-
posited photographs in vast archives. Daly and
Forbes published images from Britain’s Sudan
archive and noted that the photographs, taken
mainly by officials and tourists but also by com-
mercial photographers and press correspondents,
were initially collected in the service of military
intelligence. Durand-Evrard and Martini presented
photographs from France’s Algerian archive alon-
gide other textual and visual documents. Themati-
cally organized around such topics as agriculture,
e ́coles and lycees, and Saharan exploration, their
book puts photography in the broader context of
the production of colonial knowledge. Of particu-
lar interest are surveillance images from secret
police files. A related group of identity photo-
graphs discussed by Carole Naggar offers the case
of shamefully unveiled Berber women, whom Marc
Garanger was forced to photograph after being
pressed into service as a regimental photographer.
These women offer defiant gazes that resist the
camera’s coercive effects, and Garanger viewed
these images’ publication in the 1980s as a riposte
to France’s willful amnesia about the war of 1954–- (One might also mention photojournalism of
Algeria’s conflicts: Magnum photographer Marc
Riboud’s exemplary coverage of the 1954–1962
war, or photography of the under-covered ‘‘dirty
war’’ between the government and Islamist rebels,
typified in Algerian photojournalist Hocine’s so-
calledMadonna of Benthala, an image of a grieving
woman after a 1997 massacre [see Convert].)
The decades before World War One were a golden
age for commercial photography of North Africa, a
form of photography most widely distributed as
postcards. The Koranic injunction against realistic
images seems to have impeded the development of
native-owned commercial and portrait studios,
which were therefore often operated by Europeans
and especially Armenians in this period as well as
until well into the later decades of the century.
Recently, a number of publications have offered
country-specific selections of postcards, though
unfortunately with poor quality reproductions (See
He ́brard and He ́brard, Laronde, and Karmazyn).
Several important commercial studios active in
the colonial era should be noted. The Bonfils
family, based in Lebanon and Egypt, produced
AFRICA: EAST AND INDIAN OCEAN ISLANDS, PHOTOGRAPHY IN