This Troubled Inheritance: Untitled Multiple Exposures, 1999 (original) (raw)
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itself (100). Her sympathy for a Marxist and at the same time feminist reading of Anna Waterlow's album over and above a social and cultural understanding of the development and the significance of albums within the Victorian household is valid, but it should be noted that it is but one modality of interpreting albums and photographs and should not be held as absolute. Di Bello's attachment to the Marxist and feminist discourse does not entirely convince, especially as she does not posit the possibility of another reading for the benefit of her readers. The book is limited by its exclusive focus on the British upper class and by the conviction that Marxism and feminism best explain the focus on family photographs as another manifestation of the fetish. But can one be content by simply situating photographic albums within the coordinates of fetish and melancholia?