They are among the most famous and compelling photographs ever made in archaeology: Howard Carter kneeling before the burial shrines of Tutankhamun; life-size statues of the boy king on guard beside a doorway, tantalizingly sealed, in his tomb; or a solid gold coffin still draped with flowers cut more than 3,300 years ago. Yet until now, no study has explored the ways in which photography helped mythologize the tomb of Tutankhamun, nor the role photography played in shaping archaeological methods and interpretations, both in and beyond the field. This book undertakes the first critical analysis of the photographic archive formed during the ten-year clearance of the tomb, and in doing so explores the interface between photography and archaeology at a pivotal time for both. Photographing Tutankhamun foregrounds photography as a material, technical, and social process in early 20th-century archaeology, in order to question how the photograph made and remade ‘ancient Egypt’ in the waning age of colonial order.

They are among the most famous and compelling photographs ever made in archaeology: Howard Carter kneeling before the burial shrines of Tutankhamun; life-size statues of the boy king on guard beside a doorway, tantalizingly sealed, in his tomb; or a solid gold coffin still draped with flowers cut more than 3,300 years ago. Yet until now, no study has explored the ways in which photography helped mythologize the tomb of Tutankhamun, nor the role photography played in shaping archaeological methods and interpretations, both in and beyond the field. This book undertakes the first critical analysis of the photographic archive formed during the ten-year clearance of the tomb, and in doing so explores the interface between photography and archaeology at a pivotal time for both. Photographing Tutankhamun foregrounds photography as a material, technical, and social process in early 20th-century archaeology, in order to question how the photograph made and remade ‘ancient Egypt’ in the waning age of colonial order.

Pharaoh. Icon. Enigma. Lost for three thousand years, misunderstood for a century. A hundred years ago, a team of archaeologists in the Valley of the Kings made a remarkable discovery: a near-complete royal burial, an ancient mummy, and golden riches beyond imagination. The lost tomb of Tutankhamun ignited a media frenzy, propelled into overdrive by rumours of a deadly ancient curse. But amid the hysteria, many stories - including that of Tutankhamun himself - were distorted or forgotten. Tutankhamun: Pharaoh, Icon, Enigma takes a familiar tale and turns on its head. Leading Egyptologist Joyce Tyldesley has gathered ten unique perspectives together for the first time, including that of the teenage pharaoh and his family, ancient embalmers and tomb robbers, famous Western explorers and forgotten Egyptian archaeologists. It's a journey that spans from ancient Thebes in 1336 BCE, when a young king on a mission to restore his land met an unexpected and violent end, to modern Luxor in 1922 CE when the tomb's discovery led to a fight over ownership that continues to this day. Above all, this is the story of Tutankhamun, as he would have wanted to be remembered. Piecing together three thousand years of evidence and unpicking the misunderstandings that surround Egypt's most famous king, this book offers a vital reappraisal on his life, death and enduring legacy.

Beautiful color photos of the breathtaking tomb of Tutankhamun and the magnificent objects buried with the young pharoah.

A bold new history of the discovery of King Tut and the seismic impact it left on modern society. When it was discovered in 1922, in an Egypt newly independent of the British Empire, the 3,300-year-old tomb of Tutankhamun sent shockwaves around the world. The boy-king became a household name overnight and kickstarted an international obsession that continues to this day. From pop culture and politics to tourism and the heritage industry, it’s impossible to imagine the past century without the discovery of Tutankhamun – yet so much of the story remains untold. In Treasured, Christina Riggs weaves compelling historical analysis with tales of lives touched, or changed forever, by an encounter with the boy-king. Who remembers that Jacqueline Kennedy first welcomed the young pharaoh to America? That a Tutankhamun revival in the 1960s helped save the ancient temples of Egyptian Nubia? Or that the British Museum’s landmark Tutankhamun exhibition in 1972 remains its most successful ever? But not everything about ‘King Tut’ glitters: tours of his treasures in the 1970s were linked to Big Oil, his mummified remains have been exploited in the name of science, and accounts of his tomb’s discovery exclude Egyptian archaeologists. Treasured offers a bold new history of the young pharaoh who has as much to tell us about our world as his own.

The Handbook of Photography Studies is a state-of-the-art overview of the field of photography studies, examining its thematic interests, dynamic research methodologies and multiple scholarly directions. It is a source of well-informed, analytical and reflective discussions of all the main subjects that photography scholars have been concerned with as well as a rigorous study of the field’s persistent expansion at a time when digital technology regularly boosts our exposure to new and historical photographs alike. Split into five core parts, the Handbook analyzes the field’s histories, theories and research strategies; discusses photography in academic disciplinary and interdisciplinary contexts; draws out the main concerns of photographic scholarship; interrogates photography’s cultural and geopolitical influences; and examines photography’s multiple uses and continued changing faces. Each part begins with an introductory text, giving historical contextualization and scholarly orientation. Featuring the work of international experts, and offering diverse examples, insights and discussions of the field’s rich historiography, the Handbook provides critical guidance to the most recent research in photography studies. This pioneering and comprehensive volume presents a systematic synopsis of the subject that will be an invaluable resource for photography researchers and students from all disciplinary backgrounds in the arts, humanities and social sciences.

This book explores the history of visual technology and archaeology and outlines how the introduction of interactive 3D computer modelling to the discipline parallels very closely the earlier integration of photography into archaeological fieldwork.