In the early twentieth century, the Boston-based United Fruit Company controlled the production, distribution, and marketing of bananas, the most widely consumed fresh fruit in North America. So great was the company's power that it challenged the sovereignty of the Latin American and Caribbean countries in which it operated, giving rise to the notion of company-dominated "banana republics."
In A Camera in the Garden of Eden, Kevin Coleman argues that the "banana republic" was an imperial constellation of images and practices that was checked and contested by ordinary Central Americans. Drawing on a trove of images from four enormous visual archives and a wealth of internal company memos, literary works, immigration records, and declassified US government telegrams, Coleman explores how banana plantation workers, women, and peasants used photography to forge new ways of being while also visually asserting their rights as citizens. He tells a dramatic story of the founding of the Honduran town of El Progreso, where the United Fruit Company had one of its main divisional offices, the rise of the company now known as Chiquita, and a sixty-nine day strike in which banana workers declared their independence from neocolonial domination. In telling this story, Coleman develops a new set of conceptual tools and methods for using images to open up fresh understandings of the past, offering a model that is applicable far beyond this pathfinding study.

A Camera in the Garden of Eden: The Self-Forging of a Banana Republic

History

Coleman, Kevin

Americas

University of Texas Press

Arts & Photography

Photography & Video

The complete tutorial and reference to all user-level features of AutoCAD Release 12 for Windows. Features more than 700 illustrations and includes hundreds of tips, notes, and warnings. Includes easy-to-follow tutorial exercises.

Inside Autocad Release 12 for Windows/Book and Disk

Computers & Technology

Gesner, Rusty

Hill, Dennis

Boersma, Tom

Tobey, Peter

Operating Systems

New Riders Pub

This is the 10-year anniversary edition of the most widely used AutoCad book of all time--includes more indispensable information and tools than ever before. The text includes tips, tricks and advice from the industry's leading professionals. Grasp valuable Windows skills that help you to maximize your performance. The CD-ROM contains a previously unheard of wealth of information including complete electronic versions of three published works on AutoCAD.

Inside Autocad Release 13C4: For Windows 95, Windows Nt, and Windows

Morris, Andrew

Soen, Francis

Boyce, Jim

Beck, Jeff

Fitzgerald, Jim

Burchard, Bill

Peterson, Michael Todd

Pitzer, David

Fulmer, Howard M.

McWhirter, Kevin

Gesner, B. Rustin

Jones, Cathleen

Toby, Peter

Graphics & Design

Product Description 
A provocative exploration of photography's relationship to capitalism, from leading theorists of visual culture.\nPhotography was invented between the publication of Adam Smith's The Wealth of Nations and Karl Marx and Frederick Engels's The Communist Manifesto. Taking the intertwined development of capitalism and the camera as their starting point, the essays in Capitalism and the Camera investigate the relationship between capitalist accumulation and the photographic image, and ask whether photography might allow us to refuse capitalism's violence--and if so, how?\nDrawn together in productive disagreement, the essays in this collection explore the relationship of photography to resource extraction and capital accumulation, from 1492 to the postcolonial; the camera's potential to make visible critical understandings of capitalist production and society, especially economies of class and desire; and propose ways that the camera and the image can be used to build cultural and political counterpublics from which a democratic struggle against capitalism might emerge.\nWith essays by Ariella Aïsha Azoulay, Siobhan Angus, Kajri Jain, Walter Benn Michaels, T. J. Clark, John Paul Ricco, Blake Stimson, Chris Stolarski, Tong Lam, and Jacob Emery. 
 Review 
“These essays scrutinize the photograph from multiple angles to expose the image-capitalism of our ongoing Imperial Age. A treasure trove of contemporary approaches to critical visual studies.”\n—Susan Buck-Morss, CUNY Graduate Center\n“This is the most original and ground-breaking collection of essays on photography that I have seen in many years, featuring notable critics and scholars at the height of their powers. Do not look for consensus here, but a refreshing take on the enduring contradictions that beset this essential medium of modernity.”\n—W.J.T. Mitchell, author of What Do Pictures Want?\n“Scintillating … [in 
Capitalism and the Camera] Coleman and James ask us to consider the primary destructive gaze of powerful companies.”\n—Shanti Escalante-De Mattei, Art in America 
 About the Author 
Kevin Coleman is an Associate Professor of History at the University of Toronto, and author of A Camera in the Garden of Eden: The Self-Forging of the Banana Republic. His research has been funded by the Andrew W. Mellon Foundation and the American Council of Learned Societies; the Social Sciences and Humanities Research Council of Canada; and the Fulbright-Hayes. He is currently working on a documentary film, 
The Photos We Don't Get to See, on photographs from the 1928 massacre of banana workers in Colombia.\nDaniel James is the Bernardo Mendel Chair in Latin American History at Indiana University, and the author of 
Resistance and Integration: Peronism and the Argentine Working Class, 1946-1976 and 
Doña María's Story: Life, History, Memory, and Political Identity, and co-editor of 
The Gendered Worlds of Latin American Women Workers: From Household and Factory to the Union Hall and Ballot Box. He is the recipient of a Guggenheim fellowship and before taking up the Mendel Chair at Indiana University, he taught at Yale University and Duke University.

Capitalism and the Camera: Essays on Photography and Extraction

James, Daniel

Verso

Panama's place in the collective imagination is frequently limited to its famous canal, exotic scenery and recent political history. Mexican photographer Arturo Soto (born 1981), however, is not interested in reproducing clich s; his work looks for unexpected traces of everyday sociopolitical life in urban spaces. With this new volume, the photographer offers a subjective vision of Panama's urban landscape, interrogating how personal experience influences the ways one negotiates, and ultimately represents, a landscape. As a consequence, the vibrant country found in travel brochures to sell prepackaged experiences is purposefully absent. Soto trains his camera on Panama's more banal spaces, not the colorful tropical paradises of the tourist bureau. Capturing views of Panama's socially stratified cities and the disparate social values at play there, Soto contradicts simple visions of progress and economic growth with a much more nuanced portrait of a place and its people.

Arturo Soto: In the Heat

The Eriskay Connection

What Am I Called To Be?: How to Find and Pursue the Career and Life that God Has Called You To

Business & Money

Job Hunting & Careers

Independently published

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