By Susie Protschky
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Extra info for Photography, Modernity and the Governed in Late-colonial Indonesia
Sample text
Van batig slot naar ereschuld: De discussie over de financiële verhouding tussen Nederland en Indië en de hervorming van de Nederlandse koloniale politiek 1860-1900. The Hague: SDU, 1989. Jongmans, Rob, and Janneke van Dijk. ” In Janneke van Dijk, Rob Jongmans, Anouk Mansfeld, Steven Vink and Pim Westerkamp, Photographs of the Netherlands East Indies at the Tropenmuseum, 15-38. Amsterdam: KIT Publishers, 2012. Kuitenbrouwer, Maarten. The Netherlands and the Rise of Modern Imperialism: Colonies and Foreign Policy, 1870-1902, translated by Hugh Beyer, first published 1985.
Lamster made approximately 60 documentaries, each of several minutes’ duration. Some of these were restored in the 1970s by the Netherlands Film Institute. In 1995, the photojournalist Vincent Monnikendam released a 90-minute movie from approximately 200 films shot in the Indies between 1912 and 1933. It included some clips from Lamster’s oeuvre. 26 In harmony with his time, Monnikendam’s overarching narrative of the Dutch in Indonesia was strongly anti-colonial. His selections from those old films emphasised the arrogance of the coloniser and conveyed Monnikendam’s sense of how Indonesians might have perceived the Dutch in their midst.
The extensive photographic archive from Aceh, however, covers many more subjects, and is a valuable source on the region’s social, cultural and political developments between 1874 and 1940: see Jean Gelman Taylor, “Aceh Photo Narratives,” in Mapping the Acehnese Past, ed. Michael Feener, Patrick Daly and Anthony Reid (Leiden: KITLV Press, 2011), 199-239. 19 The professional photographer recorded individuals and family groupings, and private as well as public moments in the life of the colony. The small Kodak camera, patented in 1895, swiftly reached the colony and private hands.