Photography and its history have never been questioned except from a point of view distorted by painting or, more broadly, by the graphic arts. “Fabrique des illusions” proposes to think differently about the origins of this medium, particularly in its relations with theater and the performing arts. “Orientalist” photography can be the particular place of this necessary and thorough review; the latter has always worked in the simulation mode. In the nineteenth century, photography and theater installed new modes of representation. It is the time when the “ocular show” is invented, a scenographic complex with special effects, conglomerate of new...
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