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PICTURING the MODERN CITY AS a PANORAMA by Petra

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PICTURING the MODERN CITY AS a PANORAMA by Petra PICTURING THE MODERN CITY AS A PANORAMA by Petra Watson M.A. Communication, Simon Fraser University, 1990 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Under Special Arrangements in the Faculty of Arts & Social Sciences © Petra Watson 2007 SIMON FRASER UNIVERSITY Spring 2007 All rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without permission ofthe author. APPROVAL Name: Petra Watson Degree: Doctor of Philosophy Title ofDissertation: Picturing the Modern City as a Panorama Examining Committee: Jonathan C. Driver, Chair Jerald Zaslove, Senior Supervisor Professor Emeritus, Humanities and English Derek Gregory, Supervisor Professor, Geography University ofBritish Columbia Richard Gruneau, Supervisor Professor, Communication Kirsten McAllister, Examiner Assistant Professor, Communication Rosemary Donegan, External Examiner Associate Professor, Liberal Studies Ontario College ofArt & Design, Toronto Date Approved: II I SIMON f;HASEU ONIVEnSlTY SFU TH1NKING or THE WORLO DECLARATION OF PARTIAL COPYRIGHT LICENCE The author, whose copyright is declared on the title page of this work, has granted to Simon Fraser University the right to lend this thesis, project or extended essay to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. The author has further agreed that permission for multiple copying of this work for scholarly purposes may be granted by either the author or the Dean of Graduate Studies. It is understood that copying or publication of this work for financial gain shall not be allowed without the author's written permission. While licensing SFU to permit the above uses, the author retains copyright in the thesis, project or extended essays, including the right to change the work for subsequent purposes, including editing and publishing the work in whole or in part, and licensing other parties as the author may desire. Permission for public performance, or limited permission for private scholarly use, of any multimedia materials forming part of this work, may have been granted by the author. This information may be found on the separately catalogued multimedia material and in the signed Partial Copyright Licence. No Digital Copy for SFU Library collection: By special permission of the Dean of Graduate Studies, the author is exempted from granting permission to Simon Fraser University Library to keep or make a digital copy for use in its circulating collection (currently available to the public at the "Institutional Repository" link of the SFU Library website). It is agreed that the author may change this decision at any time, by providing SFU Library with a signed Partial Copyright Licence in standard form. The original Partial Copyright Licence attesting to these terms, and signed by this author, may be found in the original bound copy of this work, retained in the Simon Fraser University Archive. Simon Fraser University Library Burnaby, BC, Canada Partial Copyright Licence_PDF Exemption 2007 Abstract While a panorama view ofa city is a fairly commonplace and distinguishable image it remains without critical inquiry. The word panorama was coined in 1792 to market a large-scale circular painting that gained international popularity during the nineteenth century. The panorama image is investigated through large circular paintings, engravings and etchings, and panorama photographs that extend from the daguerreotype (1839) to the vintage silver print ofthe Cirkut camera (1904). The panorama is examined as a historical and discursive representation ofmodernity and modernization to consider its conditions ofproduction and social relations as inseparable from technological change and economic growth and development. The panorama world-view implies prosperity and progress. The modernizing cities ofLondon, Paris, San Francisco and Vancouver provide topographical views to examine the ambitiously complex composition and scale, and structure and space ofthe panorama. The panorama's central permutations are recognized as a view from a high vantage point, a full force ofpictorial record displaying objective fact, and an optical realm ofillusionary structure. The spatial and social implications ofthe panorama are interpreted as successfully unifying discordant and disruptive experiences ofmodernity through spatially resolving the ambiguities and uncertainties ofan increasingly global world ofthe nineteenth and early twentieth cnetury. Panorama vision and space are interpreted through theoretical influences of Roland Barthes, Jonathan Crary, Michel Foucault, Henri Lefebvre and Georg Simmel. Key Words: panorama, photography, modernity, space III Dedication For my daughter Cali who is starting her adult life, and for my dad who died just as I was completing the very last stages ofthis document. IV Acknowledgements I am grateful for the support and assistance provided by Dr. Jerry Zaslove, senior supervisor. I thank Julie Andreyev for the layout ofthe illustrations and pdfcompilation assistance in general. Thank you to Sandra Lockwood for scanning the images received from archives. I thank the archivists Sue Bapti and Carol Habor at the City ofVancouver Archives for their assistance with questions addressing the panorama photographs taken with the Cirkut camera. I also thank the archivists who assisted with my requests for images from The Bancroft Library, University of California, Berkeley; George Eastman House; Rare Books and Special Collections, Public Library ofCincinnati and Hamilton County; and the Yale Center ofBritish Art, Paul Mellon Collection. v Table of Contents Approval 11 Abstract. ............................................................................ ......... III Dedication................................................................................... IV Acknowledgements '" '" v Table ofContents.... .. VI List ofIllustrations Vlll Introduction The Panorama as Image and Representation of Space 1 Chapter One Spatial Permutations of the High View 15 The view from above and from the street: comprehending modernity 15 Divergent perceptions ofcity space 24 Technological structures and discursive vision...... ... 29 Up the Eiffel Tower: Roland Barthes' pleasures ofthe high view.. 39 Writing the high view in nineteenth-century literature........................ 43 Charting further spaces ofthe high view 50 Chapter Two The Panorama: Seeing as Nature and Deciphering the World 61 Representations ofspace and the idea ofvisual reality 61 Topographical and aesthetic permutations: "as ifreally on the very spot". 72 Spaces ofillusion and optics ofinfluence 77 Reciprocal relations ofart and cartography 92 Malleable space and negotiating form 104 Chapter Three Configurations of Modernity: Panoptic Space and Spectacular Reality 111 Balloon views, perceptual un/certainties and symbolic meaning 111 Panoramas, universal expositions, Manet's allegory ofthe view 129 Knowledge, power and constructed spaces ofvisibility 152 Connecting vision to space 158 VI Chapter Four Photography and the Unfolding of City Space from Paris to San Francisco 167 The invention ofphotography, views and the "skin" ofthe city 167 Early photographs and the predilection for views 171 The scope ofthe view: fonn, composition and pictorial empathy 178 To illustrate by view 186 Photographic views and the urban fabric ofthe modern city 193 Early panorama views: the city as object, representation as space 198 San Francisco: the city as panorama, the city ofpanoramas 206 Eadweard Muybridge's photographic views 214 The sentience ofEadweard Muybridge's panoramas 217 Chapter Five Panorama Photographs ofthe Modernizing City of Vancouver 1884 - 1939 .. 231 The camera on the waterfront 231 Sequential panorama photographs ofthe frontier city ofVancouver 235 William John Moore's panorama photographs ofVancouver 246 Tracing the tracks ofthe Canadian Pacific Railway 251 Panoramas as photographic archive 264 Conclusion Space, Structure and Seeing, the Panorama and Digital Space 266 Illustrations 273 Bibliography 291 vii List of Illustrations 1. Johannes Kip, after Leonard Knyff, The Prospect ofCambridgefrom the West, c. 1713, engraving. Courtesy Yale Center ofBritish Art, Paul Mellon Collection, p. 273. 2. Artist unknown, after Johannes Kip, La Ville de Londres/Prospectus Londinens, 1748, line engraving. Courtesy Yale Center ofBritish Art, Paul Mellon Collection, p. 274. 3. Frederick Birnie (after Robert Barker), Panorama ofLondonfrom the Albion Mills, 1792-93, aquatint with etching, original in colour (sheet 3 of6). Courtesy Yale Center of British Art, Paul Mellon Collection, p. 275. 3.2. Frederick Birnie (after Robert Barker), Panorama ofLondon from the Albion Mills, 1792-93, colour aquatint with etching, original in colour (sheet 4 of6). Courtesy Yale Center ofBritish Art, Paul Mellon Collection, p. 276. 3.3. Frederick Birnie (after Robert Barker), Panorama ofLondon From the Albion Mills, 1792-93, colour aquatint with etching, original in colour (sheet 3 and 4). Courtesy Yale Center ofBritish Art, Paul Mellon Collection, p. 277. 4. R. Ackerman, Bird's Eye View from the Staircase ofthe Upper Part ofthe Pavilion in the Colesseum, Regent's Park, 1829, aquatint and engraving, original in colour. Courtesy Yale Center ofBritish Art, Paul Mellon Collection, p. 278. 5.1. Charles Fontayne
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