This thesis argues that within the medium of photography during Protectorate Morocco, four agents of power (French protectorate policy, French social science, commercial tourism, and the...Show moreThis thesis argues that within the medium of photography during Protectorate Morocco, four agents of power (French protectorate policy, French social science, commercial tourism, and the photographer himself) are connected and collaborate in constructing and using photography for their own interests. By analysing part of the photo collection of the French photographer Jacques Belin, who worked in Morocco between 1939 and 1961, I argue in what way these four domains were of influence in the production, construction, and use of Belin’s work. I state that these four collaborated and reinforced each other and resulted in the construction of Belin’s work. At times, France’s mission civilisatrice was the bigger picture holding the whole project together; at other times the aesthetic value or ethnographic interests were more dominant than those of the colonial mission. It is thus a much-needed contextualization of an individual photographer and the specific conditions to his work, to understand the workings of power within a larger context of photography and that of twentieth-century French colonialism.Show less
