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                <text>&lt;p&gt;&lt;span style="font-weight: 400;"&gt;This poster points toward the disciplinary use of photography described by art historian John Tagg in his book &lt;/span&gt;&lt;a href="https://www.photopedagogy.com/john-tagg.html" target="_blank" rel="noopener"&gt;&lt;i&gt;&lt;span style="font-weight: 400;"&gt;The Burden of Representation&lt;/span&gt;&lt;/i&gt;&lt;/a&gt;&lt;span style="font-weight: 400;"&gt;. Tagg observes that photographic technologies led to a "democracy of the image" in the latter half of the nineteenth century, with many more people represented in portraits than ever before. But Tagg explains that such portraits were not always honorific; sometimes portraits were a burden to their subjects, especially when the photographs were used to fix identities in pre-established categories. Such was the case with this poster, which identifies its subject, James Harry Finn, as a criminal.&lt;br /&gt;&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;The “mugshot,” as it came to be known, and &lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3100"&gt;identity cards&lt;/a&gt;&amp;nbsp;were standardized in nineteenth-century Paris by police photographer &lt;a href="https://www.nlm.nih.gov/exhibition/visibleproofs/galleries/biographies/bertillon.html" target="_blank" rel="noopener"&gt;Alphonse Bertillon&lt;/a&gt;.&lt;br /&gt;&lt;br /&gt;This poster was donated to Bruce Peel Special Collections by Jeffrey Moore.&lt;/span&gt;&lt;/p&gt;</text>
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                <text>&lt;p&gt;&lt;span style="font-weight: 400;"&gt;This album of photographs records a "Northern Buffalo Hunt" in Alberta, as shown by a news clipping taped to the album's back cover and by the photographs, including one taken at the Embarras Airport in Northern Alberta. The album includes both black-and-white and colour photographs.&lt;br /&gt;&lt;br /&gt;&lt;a href="https://blog.scienceandmediamuseum.org.uk/a-short-history-of-colour-photography/" target="_blank" rel="noopener"&gt;Colour photography&lt;/a&gt; was made practical in the twentieth century with the introduction of &lt;/span&gt;&lt;a href="https://blog.scienceandmediamuseum.org.uk/autochromes-the-dawn-of-colour-photography/" target="_blank" rel="noopener"&gt;autochrome&lt;/a&gt;&lt;span style="font-weight: 400;"&gt; and &lt;/span&gt;&lt;a href="http://content.time.com/time/arts/article/0,8599,1906503,00.html" target="_blank" rel="noopener"&gt;Kodachrome film&lt;/a&gt;&lt;span style="font-weight: 400;"&gt;, but printing in colour was still prohibitively expensive for families before the second half of the twentieth century. It was cheaper to print Kodachrome film as &lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3159"&gt;slides&lt;/a&gt;, which was one reason why family slideshows were popular in the middle of the twentieth century.&amp;nbsp;&lt;br /&gt;&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;Though technological advancements such as the introduction of colour prints appear to offer a more realistic view of the world, it is important to recognize that the colours produced by photography are the result of chemical processes. These processes favour certain colours, and therefore &lt;a href="https://www.youtube.com/watch?v=d16LNHIEJzs" target="_blank" rel="noopener"&gt;certain skin tones&lt;/a&gt;, leading to what art historian Sarah Lewis has called&amp;nbsp; “&lt;a href="https://www.nytimes.com/2019/04/25/lens/sarah-lewis-racial-bias-photography.html" target="_blank" rel="noopener"&gt;the racial bias built into photography&lt;/a&gt;.”&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-weight: 400;"&gt; &lt;span&gt;This album is part of the&amp;nbsp;&lt;/span&gt;&lt;a href="https://bpsc.library.ualberta.ca/collections/prairie-ephemera" target="_blank" rel="noopener"&gt;Prairie Ephemera Collection&lt;/a&gt;&lt;span&gt;&amp;nbsp;housed in Bruce Peel Special Collections.&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;</text>
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                <text>&lt;p&gt;&lt;span style="font-weight: 400;"&gt;&lt;a href="https://www.bac-lac.gc.ca/eng/CollectionSearch/Pages/record.aspx?app=fonandcol&amp;amp;IdNumber=161424" target="_blank" rel="noopener"&gt;Head tax certificates&lt;/a&gt;, as they came to be known, include photographs that attempt to fix identity in place. &lt;/span&gt;&lt;span style="font-weight: 400;"&gt;The text that accompanies the photographic portrait categorizes the subject as a legal immigrant, showing that the head tax required by Canada's discriminatory &lt;/span&gt;&lt;span style="font-weight: 400;"&gt;Chinese Immigration Act was paid&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;. Since only Chinese immigrants to Canada were required to pay a tax, the certificate also &lt;/span&gt;&lt;span style="font-weight: 400;"&gt;signals the tenuous nature of the subject’s status. &lt;/span&gt;This certificate forms part of the&amp;nbsp;&lt;a href="https://bpsc.library.ualberta.ca/collections/chinese-experience-in-canada" target="_blank" data-saferedirecturl="https://www.google.com/url?q=https://bpsc.library.ualberta.ca/collections/chinese-experience-in-canada&amp;amp;source=gmail&amp;amp;ust=1619041375707000&amp;amp;usg=AFQjCNGNN3GwrNQkyIUCRVDvMQ62lQ9-aw" rel="noopener"&gt;Chinese Experience in Canada Collection&lt;/a&gt;&amp;nbsp;housed in Bruce Peel Special Collections. &lt;span style="font-weight: 400;"&gt;&lt;span&gt;For more information about the Chinese Immigration Act, &lt;/span&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;&lt;span&gt; visit the&amp;nbsp;&lt;/span&gt;&lt;a href="https://humanrights.ca/story/the-chinese-head-tax-and-the-chinese-exclusion-act" target="_blank" rel="noopener"&gt;Canadian Museum for Human Rights&lt;/a&gt;.&lt;br /&gt;&lt;br /&gt;&lt;/span&gt;&lt;span&gt;Certificates like this one bring to mind the "&lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3102"&gt;burden of representation&lt;/a&gt;" described by art historian John Tagg, as well as photography theorist &lt;/span&gt;&lt;a href="http://cargocollective.com/AriellaAzoulay/The-civil-contract-of-photography" target="_blank" rel="noopener"&gt;&lt;span&gt;Ariella Azoulay&lt;/span&gt;&lt;/a&gt;&lt;span&gt;’s discussions of the role of photographs in both authorizing and denying citizenship. Azoulay calls attention to stateless people who have been excluded from official photographic records that fix their identities as citizens. In contrast, other forms of photography&lt;/span&gt;&lt;span&gt;—&lt;/span&gt;&lt;span&gt;including the works of activists, artists, and photojournalists (such as in the case of &lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3164"&gt;&lt;em&gt;The Fight against Apartheid!&lt;/em&gt;&lt;/a&gt;)&lt;/span&gt;&lt;span&gt;—&lt;/span&gt;&lt;span&gt;can serve as powerful appeals for the restoration of citizenship.&amp;nbsp;&lt;/span&gt;&lt;/p&gt;</text>
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                <text>&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Little is known about this album of photographs, but it is noteworthy that it includes photographs of Japanese Canadian families in Canadian internment camps during World War II. Unlike &lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/circulate-knowledge/1900-to-1969"&gt;documentary photographs&lt;/a&gt; taken by &lt;a href="https://www.pbslearningmedia.org/resource/lang14.soc.ushist.intern/picturing-japanese-american-internment-dorothea-lange/" target="_blank" rel="noopener"&gt;Dorothea Lange of internment camps&lt;/a&gt; in the United States during World War II, which were meant to record the conditions of the camps, these are family snapshots that were never intended to circulate publicly.&lt;br /&gt;&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;For more information about the treatment of Japanese Canadians during World War II, visit the &lt;a href="https://humanrights.ca/story/japanese-canadian-internment-and-the-struggle-for-redress" target="_blank" rel="noopener"&gt;Canadian Museum for Human Rights.&lt;/a&gt;&amp;nbsp;&lt;br /&gt;&lt;br /&gt;&lt;/span&gt;&lt;/p&gt;</text>
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                <text>This group portrait of a graduating class in Prince Albert, Saskatchewan, brings together 49 individual portraits, mostly sharing the same oval shape and similar poses, facing forward or turned slightly to the side. The similarities between them, and the regular rows in which they are arranged, suggest that this group of disparate individuals share in a collective identity. &lt;br /&gt;&lt;br /&gt;This approach to the group portrait, where many individual portraits are assembled together, differs from the &lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3065"&gt;portrait of plumbers and steamfitters&lt;/a&gt; and the &lt;span style="font-weight: 400;"&gt;&lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3104"&gt;portrait of members of the first Chinese church in Victoria, BC&lt;/a&gt; included in this exhibition. In the two latter examples,&lt;/span&gt; the photographs document moments when groups of people had gathered together in one place.&lt;br /&gt;&lt;br /&gt;&lt;span&gt;This album is part of the&amp;nbsp;&lt;/span&gt;&lt;a href="https://bpsc.library.ualberta.ca/collections/prairie-ephemera" target="_blank" rel="noopener"&gt;Prairie Ephemera Collection&lt;/a&gt;&lt;span&gt;&amp;nbsp;housed in Bruce Peel Special Collections.&lt;/span&gt;</text>
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29.0 x 38.5 cm&#13;
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                <text>This &lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/memory-and-identity/1900-to-1969/snapshot-albums"&gt;snapshot album&lt;/a&gt; documents a year spent in Canada working on pipeline construction in the Northwest Territories. The album's compiler arranged the photographs by theme into neat grids.</text>
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                <text>[1912/14]&#13;
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                <text>&lt;a href="https://asc.ucalgary.ca/photohistory/photo-postcards/" target="_blank" rel="noopener"&gt;Postcards&lt;/a&gt; grew in popularity in the early-twentieth century. Postcards offer an easy way to send pictures through the mail, and to communicate both visually—with the picture on the front of the card—and textually, with a short message hand-written on the back of the card. This album brings together a collection of postcards created from personal snapshots, though many twentieth-century postcards were mass produced. For some unique examples, look at "&lt;a href="https://www.printmag.com/post/greetings-from-the-brink-of-mutually-assured-destruction" target="_blank" rel="noopener"&gt;atomic postcards&lt;/a&gt;" from the Cold War.&lt;br /&gt;&lt;br /&gt;Other postcards in this exhibition include an album of "&lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3134"&gt;Postal Souvenirs&lt;/a&gt;," a &lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3132"&gt;postcard album&lt;/a&gt;, &lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3106"&gt;Souvenir of Holy Land&lt;/a&gt;, and &lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3043"&gt;Scenes from Kodachromes&lt;/a&gt;.&lt;br /&gt;&lt;br /&gt;&lt;span&gt;This album is part of the&amp;nbsp;&lt;/span&gt;&lt;a href="https://bpsc.library.ualberta.ca/collections/prairie-ephemera" target="_blank" rel="noopener"&gt;Prairie Ephemera Collection&lt;/a&gt;&lt;span&gt;&amp;nbsp;housed in Bruce Peel Special Collections.&lt;/span&gt;</text>
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FC3234.2 P732 PE001052</text>
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                <text>This album includes delightful cartoons on each of its pages. Of particular note are two cartoons that represent photographers in the act of taking pictures, each one drawn in red at the centre of the page. One of these figures is a woman holding a handheld camera up to her face, while the other figure stands next to a camera mounted on a tripod. The cartoons offer an acknowledgement of the presence of a photographer on the other side of the camera's lens, though there is no reason to believe that the drawings are intended to accurately represent the photographers responsible for the album's pictures.&lt;br /&gt;&lt;br /&gt;&lt;span&gt;This album is part of the&amp;nbsp;&lt;/span&gt;&lt;a href="https://bpsc.library.ualberta.ca/collections/prairie-ephemera" target="_blank" rel="noopener"&gt;Prairie Ephemera Collection&lt;/a&gt;&lt;span&gt;&amp;nbsp;housed in Bruce Peel Special Collections.&lt;/span&gt;</text>
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                <text>One page of this personal album documents a day in 1939 when &lt;span&gt;&lt;a href="https://diamondjubileeproject.wordpress.com/2013/09/28/queen-elizabeth-i-and-king-george-vis-visit-to-alberta-in-1939-2/" target="_blank" rel="noopener"&gt;King George VI and Queen Elizabeth visited Edmonton&lt;/a&gt; as part of their royal tour of Canada.&amp;nbsp;&lt;br /&gt;&lt;br /&gt;This album is part of the&amp;nbsp;&lt;a href="https://bpsc.library.ualberta.ca/collections/prairie-ephemera" target="_blank" rel="noopener"&gt;Prairie Ephemera Collection&lt;/a&gt;&amp;nbsp;housed in Bruce Peel Special Collections.&lt;br /&gt;&lt;/span&gt;</text>
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              <name>Title</name>
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16.5 x 21.5 cm&#13;
FC 3234.2 P732 PE001553</text>
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            <description>An entity primarily responsible for making the resource</description>
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