Anthony Cohen, in The Symbolic Construction of Community, writes: "the symbolic
expression of community and its boundaries increases in importance as the actual geo-social
boundaries of the community are undermined, blurred or otherwise weakened."
As Japanese-Canadians were uprooted from familiar communities throughout British
Columbia and overwhelmed with the loss of those closest to them, photography was
employed to recentre themselves within a stable, yet somewhat imaginative, network of
relations. Looking became an act of imaginative exchange with the subject - conflating
the act of seeing with the act of knowing. Photographs became "the most cherished
possession" at a time when all else familiar had been lost. It is my contention that
domestic photographs and albums produced at this time worked to construct, preserve
and contain the visual and imaginative narrative of cohesive family stability and
communal belonging, despite divisive political differences, disparate geographical living
situations, and elapsed family traditions. While acknowledging that photographs
construct and embody a multiplicity of meanings, I am interested in the ways Japanese-
Canadian albums were employed during the internment to foster a sense of place while
internees existed in a liminal or transitional, marginal space. These representations
attempt (and of course sometimes fail) to authenticate a seemingly cohesive biography.
Declarations of positive experiences abound throughout the seven family albums I
address in this project. Yet there is a double nature to these affirmations. Inscribing
"happy times" or "joy" alludes to the silent binary of sadness that is effaced from the
images. Representations of state surveillance and poor living conditions are virtually
never included but did nonetheless exist. It is not my intention, however, to suggest that
photographs are entirely deceptive anymore than they are undeniable truths. Rather, I
want to argue that the production, organization and narration of photographs enabled
internees to resist being subsumed by fears of persecution and obliteration. The
intersection of the photographic image with the viewer constructs a narrative of stability,
potentially resulting in a positive experience. Inscribing a positive identity onto images
of one's body plays a role in the production of contentment: it is an act which
simultaneously elides present troubles and safeguards fond memories for the future, it is a
conscious and unconscious maneuver constituting one's personal history. Thus the
images not only reinforce a positive experience, but also participate in creating one. It is
only when anxieties cannot be contained that representation breaks down. "Intimate
Archives" seeks to situate domestic photographs of Japanese-Canadians during the 1942-
1949 exile as intersecting with historical crisis and subjective narrative, tracing the
possibilities of meaning for both the depicted subjects and the possessor of the images. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate
| Identifer | oai:union.ndltd.org:UBC/oai:circle.library.ubc.ca:2429/11776 |
| Date | 11 1900 |
| Creators | Kunimoto, Namiko |
| Source Sets | University of British Columbia |
| Language | English |
| Detected Language | English |
| Type | Text, Thesis/Dissertation |
| Format | 13354451 bytes, application/pdf |
| Rights | For non-commercial purposes only, such as research, private study and education. Additional conditions apply, see Terms of Use https://open.library.ubc.ca/terms_of_use. |
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