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3 exhibitions, expositions, Media Coverage, and the Colonies (1870–1914) sandrine lemaire and Pascal Blanchard in L’Exposition de Paris, an illustrated publication prepared for the universal exposition of 1889, rich in visuals, scenes, reproductions of art objects, machines, drawings, and engravings by the best artists, one could read the following: “one of the most popular areas of the exposition is the annex devoted to the history of dwelling places. There we see colored people in canvas encampments, under reeds, surrounded by straw and cow dung. young and old clamor to see the savages .” This description introduces one of the major issues for the colonial project at the end of the nineteenth century in France, namely how to transform public indifference, and draw attention to both the necessity and the legitimacy of the colonial project. Those in power encouraged and prevailed over the kinds of displays described above, and they saw them as an effective medium to disseminate a specific imperial culture among the general public. inform, illustrate, Convince The French public became particularly interested in colonial news in the decade between 1870 and 1880. Major newspapers fueled public interest through their coverage of conquests and victories overseas. This activity was supposed to make up for the loss of the regions of alsace and lorraine. The conjuncture of circumstances within French politics at the time between the universal exposition of 1889 and that of 1900 was such that partisans of colonial expansion found themselves in power throughout this period. Moreover, since colonialism was becoming increasingly relevant within europe generally, radicals and right-wingers alike progressively began to support the colonial project, which was seen as a way of assuring France a worthy place within global politics. The most avid supporters were among the socialists and the most nationalist factions (and royalist) of the right. However, in the end, the former reached consensus within the party, which was then infused into public opinion, on the benefits of colonization. The various supporters of the colonial idea had an influence over colonial exhibitions 90 Exhibitions, Expositions, Media Coverage, and the Colonies | 91 and expositions, and they also worked to control media coverage of the empire. The key words behind their actions were: “expose,” “promote,” and “popularize.” during the second half of the nineteenth century, the universal expositions held in Paris placed increasing emphasis on the colonies.1 The techniques of representation , which, like the overseas conquests, became more diverse in scope, were also improved upon at this time. seen as a means of disseminating information , these exhibitions contributed to the production of metaphors, rhetorical devices , and stereotypes. visitors were invited to journey to an exceptional world, and evaluated the exhibition based on how far it took them out of the ordinary and on the memories they were able to create. The press played the important role of intermediary between the exhibitions and the public. at the 1878 exposition, the French were invited to take a stroll on the “rue des nations.” in 1888 the exhibition featured a “negro village.” The famous “rue du Caire”—a sort of oriental bazaar complete with four hundred “native” extras, meant to immerse the visitor in an “exotic” ambiance—was another major attraction. a narrow arab street was later reproduced in Chicago, san Francisco, Berlin, and Milan.2 each presentation consisted of houses positioned side by side, minarets, boutiques, “native arabs” in Fakir dress, jugglers, merchants and artisans, veiled women, monkeys, and camels. in short, these exhibitions afforded a perfect example of the kind of superficial interpretation of extra-european cultures available at the time. The model was easily applied to represent other civilizations, most of which were within the empire ’s purview. Many subsequent villages were constructed (of dahomey, sudan, indochina, etc.), in which similar scenes were presented. Finally, in 1900 the exposition ’s organizers offered its fifty million visitors a “living” diorama of Madagascar , a phenomenon that was reproduced in properly colonial expositions: Marseille in 1906 and 1922, strasbourg in 1924, and Paris in 1907 and 1931. The organizers invited the public into a mythical world, somewhere between dream and reality. They saw to the minutiae of the décor, assuring the “authenticity ” of the representations. indeed, those fond of the picturesque immersed themselves in all the visit had to offer. They saw “natives” at work, and were awed by the theatrical productions. They made use of small african boats, and participated in “exotic” activities. They ate at an annamese restaurant and mounted camels, an animal...

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