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*0010639603 *003NO-LaBS *00520211116211719.0 *007t *008150327s2014 xx e 0 nob d *009 nam 1 *019 $bl *020 $a9780957260030$qib.$c250 kr *035 $a(NO-LaBS)11242699(bibid) *041 $aeng *0827 $a779.2$25 *090 $c779.2$d90 *24500$a90º Degrees of Shade$bover 100 years of photography in the Caribbean ; image and identity in the West Indies$cedited and introduction by Stuart Baker ; foreward by Paul Gilroy *260 $aLondon$bSoul Jazz$c2014 *300 $a252 s.$bill. *336 $atekst$0http://rdaregistry.info/termList/RDAContentType/1020$2rdaco *337 $auformidlet$0http://rdaregistry.info/termList/RDAMediaType/1007$2rdamt *338 $abind$0http://rdaregistry.info/termList/RDACarrierType/1049$2rdact *5058 $aHar bilderegister *5208 $aThe image of the Caribbean is as much a creation of the outsider as it is the complex identity of its people – a melting pot of races created out of the participants of the 400 year slave trade – enforced Africans, indigenous Americans and their colonisers – French, Spanish, Dutch, English. From luscious and tropical backdrop of tourism and hedonism, to colonial outpost and revolutionary threat within North America’s own backyard the identity of the Caribbean stands at this intersection of tourism, the detritus of the slave trade and tropicality. The regions politics span a hot bed of ideas and radicalism – from Castro’s Cuba, communist thorn in the side of North America, to the violent right-wing dictatorship of Haiti’s Papa Doc in the 1960s; also from Michael Manley’s Jamaica in the 1970s to Eric Williams’ Trinidad in the 1960s. Hundreds of fascinating and unique photographs span more than one hundred years of Caribbean history, culture and industry as well as the subsequent diaspora of its people to America, England, Canada and elsewhere. *599 $a250 kr *650 4$aFotografier$_11022400 *650 4$aIdentitet$_15774700 *651 4$aKaribiske øyer$_14001800 *7001 $aBaker, Stuart$eredaktør$4edt$_26659700 ^