Focusing on more contemporary contexts, many media anthropologists analyze the images produced by postcolonial subjects themselves, along with the producers of those images and the production process. Rather than scrutinizing the imperial or ethnographic gaze, these scholars are interested in local forms of gazing at the self and others in photographs.
Anthropologist Liam Buckley (2000) has conducted research on studio photography in the West African country of Gambia. Through interviews with photographers and their subjects, Buckley traced the development of photographic strategies from the more realist style of the 1950s to the more fanciful and imaginative style common from the 1970s to the early 2000s.
In the 1950s, photographs were valued for faithfully depicting the character, mood, and personality of the subject, what people referred to as jikko. More recently, people began to prefer being photographed against elaborate studio backdrops depicting scenes of modern leisure and cosmopolitan travels. A staging popular with young people in particular features the subject relaxing amid an array of appliances, such as radio, television, and an open refrigerator full of cold beverages and tasty foods. Some backdrops depict subjects climbing the stairs to board an airplane or visiting a foreign tourist destination. Gambians use the term juuntuwaay to describe the props and imported goods included in these scenes, which might include bicycles, pens, and sunglasses. Young people use these objects to “‘complete’ themselves” (Buckley, 2000), thus using the photograph as a form of aspirational identity formation. The goal of this form of portraiture is not to depict personal jikko but rather to represent jamano, a sense of fashionable novelty and change.
The content of this course has been taken from the free Anthropology textbook by Openstax