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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;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;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>The photographs included in&amp;nbsp;&lt;em&gt;Calgary, the City Phenomenal&lt;/em&gt; help support the claim that Calgary is "the continent's fastest growing city" by emphasizing modern aspects of the city. The selection of photographs includes a train crossing an overpass, large and imposing buildings—including a city hall with a clocktower resembling London's Big Ben—a lineup of automobiles outside a firehall, and views of "a few of Calgary's many industries."</text>
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                <text>These "real photographs" of Melrose Abbey in Scotland were issued by the Ancient Monuments Department, suggesting that the photographs were not only created as souvenirs for visitors, but that they also played a role in the documentation and preservation of historic monuments. Photography's usefulness in historic preservation was recognized early on; in 1851, the French &lt;em&gt;Commission des Monuments Historiques&amp;nbsp;&lt;/em&gt;launched the &lt;a href="https://www.metmuseum.org/toah/hd/heli/hd_heli.htm" target="_blank" rel="noopener"&gt;&lt;em&gt;Mission &lt;span&gt;Héliographique&lt;/span&gt;&lt;/em&gt;&lt;/a&gt;&lt;span&gt;, a project that employed five photographers &lt;/span&gt;to photograph historic sites across France.</text>
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                <text>This album includes photographs of medical students at the University of Alberta in the 1920s. One page of the album shown here features two photographs taken in the university's Anatomy Laboratory, where men in white lab coats appear to be having fun while posing with a model of a human skeleton.&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>This deck of playing cards acts as both a souvenir and an advertisement for the White Pass and Yukon route. Each card features a different picture.</text>
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="37307">
                <text>Palmyra</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="37308">
                <text>1960s&#13;
6.5 x 9.5 cm&#13;
TR 790 P36 1950z</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="37476">
                <text>&lt;span style="font-weight: 400;"&gt;These photographs of Palmyra, Syria, are printed as glossy &lt;/span&gt;&lt;a href="https://www.nga.gov/research/online-editions/alfred-stieglitz-key-set/practices-and-processes/gelatin-silver-prints.html" target="_blank" rel="noopener"&gt;silver gelatin prints&lt;/a&gt; &lt;span style="font-weight: 400;"&gt;and were likely taken with a hand-held camera and &lt;/span&gt;&lt;a href="https://blog.scienceandmediamuseum.org.uk/celluloid-and-photography-part-1-celluloid-as-a-substitute-for-glass/" target="_blank" rel="noopener"&gt;celluloid film&lt;/a&gt;&lt;span style="font-weight: 400;"&gt;. Despite this use of twentieth-century technologies, the photographs follow a tradition of travel photography dating back to at least the 1850s, when French writer &lt;a href="https://www.metmuseum.org/art/collection/search/287194" target="_blank" rel="noopener"&gt;Maxime Du Camp&lt;/a&gt; visited and photographed the sites in Egypt, Nubia, Palestine, and Syria. Like Du Camp’s earlier photographs, these &lt;a href="https://hyperallergic.com/623729/the-getty-return-to-palmyra/?utm_campaign=daily&amp;amp;utm_content=20210223&amp;amp;utm_medium=email&amp;amp;utm_source=newsletter" target="_blank" rel="noopener"&gt;photographs of Palmyra focus only on ancient sites&lt;/a&gt;, leaving out any traces of the modern world that brought travellers and cameras to these sites. &lt;/span&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="37630">
                <text>photographer unknown</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
</itemContainer>
