The Face Pullers
By Brock Silversides
A look at the very beginning of Native and white relationships in Canada.
Photographs of First Nation peoples were once taken for commercial and documentary purposes, and although these photos often presented idolized images of them for monetary gain, they did portray some authentic aspects. The Face Pullers documents the years between 1871 to 1939 when photographs were starting to become a popular form of media, and they now stand as concrete physical evidence of the interactions between the two groups during that time. The Native peoples were curious and suspicious of the equipment and ultimately named cameras “face pullers” after looking at the final photograph. This was an incredibly rich period in Canadian photography history, and author Brock Silversides does his best to show the strength and resilience of this group of people.
By Brock Silversides
A look at the very beginning of Native and white relationships in Canada.
Photographs of First Nation peoples were once taken for commercial and documentary purposes, and although these photos often presented idolized images of them for monetary gain, they did portray some authentic aspects. The Face Pullers documents the years between 1871 to 1939 when photographs were starting to become a popular form of media, and they now stand as concrete physical evidence of the interactions between the two groups during that time. The Native peoples were curious and suspicious of the equipment and ultimately named cameras “face pullers” after looking at the final photograph. This was an incredibly rich period in Canadian photography history, and author Brock Silversides does his best to show the strength and resilience of this group of people.
By Brock Silversides
A look at the very beginning of Native and white relationships in Canada.
Photographs of First Nation peoples were once taken for commercial and documentary purposes, and although these photos often presented idolized images of them for monetary gain, they did portray some authentic aspects. The Face Pullers documents the years between 1871 to 1939 when photographs were starting to become a popular form of media, and they now stand as concrete physical evidence of the interactions between the two groups during that time. The Native peoples were curious and suspicious of the equipment and ultimately named cameras “face pullers” after looking at the final photograph. This was an incredibly rich period in Canadian photography history, and author Brock Silversides does his best to show the strength and resilience of this group of people.