There’s nothing like a few unexpected days at home to allow you to discover new things, and the great find of the past few days — thanks to a tweet from Fernando Sdrigotti @f_sd — has been to watch (via Youtube, start [here](https://www.youtube.com/watch?v=vpijOSSlZCI) five programmes in all) some BBC documentaries about Albert Kahn and his Archives of the Planet, now preserved at the [Musée Albert Kahn](http://albert-kahn.hauts-de-seine.fr/) outside Paris. Born in Alsace, Kahn was displaced by the Prussian seizure of the territory in 1871 and became immensely rich though banking and investing in diamonds. But he was also an idealist, convinced that if the various tribes of humanity only knew one another better they would empathize more and would be less likely to go to war. In pursuit of this hope, and taking advantage of the Lumière Brothers’ [Autochrome](https://en.wikipedia.org/wiki/Autochrome_Lumi%C3%A8re) colour process, he sent teams of photographers to all parts of the globe and, before the First World War, caught many forms of life on the edge of being swept away by globalisation, war and revolution. (There’s quite a good selection [here](http://www.afar.com/magazine/a-trip-through-time) but google away.) Pictures taken around the Balkans, for example, depict the immense variety of different cultures living side-by-side at the time and then later we see the sad stream of refugees from the second Balkan War as they head from Salonika towards Turkey. Kahn’s operative document rural life in Galway, harsh penal regimes in Mongolia, elite life in Japan and a tranquil Rio de Janeiro with little traffic and few people.
Kahn’s hope for a peaceful world was lost in 1914, but we owe to his project many images of wartime France, particularly the life of ordinary people behind the lines. Postwar, Kahn was a great supporter of the League of Nations and, again, his operatives were on hand to document many of the upheavals of the inter-war years, such as the burning of Smyrna in 1922 (as Izmir, the city is once again crowded with refugees today) and the abortive attempt to found the Rhenish Republic in 1923. Many of the photographs are included in a book by David Okuefuna, *The Wonderful World of Albert Kahn: Colour Photographs from a Lost Age* (BBC Books, 2008). Sadly, Kahn was ruined by the Great Depression and died in Paris shorly after the Germans invaded in 1940. He seems little-known today, but there’s a lot of material out there that’s worth your time.
{ 12 comments }
RNB 08.10.16 at 8:46 pm
Wow. Super interesting. Kahn’s relation to Henri Bergson seems very interesting. There is this book Counter-Archive : Film, the Everyday, and Albert Kahn’s Archives de la Planète
by Amad, Paula
John Holbo 08.10.16 at 9:20 pm
Cool stuff. Thanks for this one!
maidhc 08.11.16 at 1:31 am
Sergei Prokudin-Gorskii took a large number of color photos of pre-Revolutionary Russia. The Tsar set him up with a private railroad car and he travelled all over the Empire.
https://www.loc.gov/exhibits/empire/
He used a different color system than the Lumière process, one requiring three plates per image.
Chris Bertram 08.11.16 at 7:16 am
@RNB thanks for noticing that book. There’s also some material on Kahn in Jay Winter’s Dreams of Peace and Freedom, which I have on order.
Chris Bertram 08.11.16 at 7:21 am
@maidc yes, I’ve long been aware of those images, which are astonishing. The advantage of the autochrome is that, though cumbersome by today’s digital standards, it was a process usable by just about any competent photographer (though expensive compared to b&w) and amenable to commercial and industrial development. I watched a very interesting vid the other day about how the process was developed and the extensive researches the Lumière brothers conducted on starch grains, eventually plumping for the humble potato.
Raven Onthill 08.11.16 at 8:43 am
Me, a few weeks ago:
RNB 08.11.16 at 7:23 pm
Would have written about this yesterday if not for the implosion on the other thread. Do you know whether in his films Kahn eschewed cuts, edits and changes in frame speed, Chris? His mentor was Bergson, and Bergson’s conception of time seems to fit better with such techniques to grasp the subjective experience of time that was contrasted with the perfectly cadenced and regulated sense of time in Einsteinian physics for example (see Jimenes Canales, The Physicist and the Philosopher, p. 296)? But I am getting the sense that Kahn did not use such techniques. Seems puzzling, given his close relation to Bergson, no?
I am also wondering whether Kahn ever used montage or split screens to present as simultaneous events that were far away from each other. This would seem to give some sense of global unity which from what you interestingly write here he seems to have idealized. There was of course opposition to showing events as simultaneous that had no real connection between them.
RNB 08.11.16 at 7:49 pm
Is there some connection between Kahn’s depiction of everyday life in apparently disappearing worlds to Bergson’s theory of memory? For example, the archive is meant as a gift to future generations so they will be able to understand the nature of the traces of the past in their lives. Don’t know, just guessing because my wife has talked a lot about Bergson to me. Of course there may be the problem of how Kahn may have marginalized the role of imperial powers in the disappearance of the worlds that he was representing.
LFC 08.11.16 at 8:45 pm
Thanks for the OP. Don’t believe I had heard him.
LFC 08.11.16 at 8:45 pm
heard of him, I meant
RNB 08.11.16 at 11:45 pm
Sorry misspelled name above @7; I meant Jimena Canales.
ZM 08.11.16 at 11:52 pm
These look so interesting Chris Bertram, thanks :-) I’ll have to bookmark them for a rainy day.
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