Picturesque India

"A Bird's-Eye View of Picturesque India" by Sir Richard Temple. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.

* The book provides a glimpse of the visual history of India at the beginning of the industrial travel era, a hundred years back* Explore the geographic diversity of 130+ cities through 550 picture postcards of pre-Partition India* The book contains a detailed catalogue of the printers, photographers and publishers of the first picture postcards of IndiaWith the dawn of the twentieth century, at the height of the British Empire, came significant changes in the landscape of India - formation of new capital cities in the plains and summer retreats in the hills, evolution of towns or nagores and pores, growth of cantonment towns with their military and civil lines, development of ports or pattanams and creation of cultural, educational and trading centers, all increasingly well connected by an extensive rail, road and, later on, air network. The 550 postcards featured in this book visually document this growth, while also capturing evidence of earlier times in India's fascinating polytemporal towns. The postcards are divided across six chapters representing six regions within India and Pakistan, as they were a hundred years ago. Through these picture postcards and the supporting text, the readers can vividly imagine what it would have been like to travel by road or rail across India during the period 1896-1947. An attractive and nostalgic record of the topography of the time, these picture postcards are an untapped resource for those interested in the evolution of cities, town planning, architecture, ethnography, sociology or, simply, travel.

This book, first published in 1975, is a comprehensive list of all the books on India, written in English before 1900. It is an invaluable reference source on India of the eighteenth and nineteenth centuries. Apart from the work of professional writers, there are the writings of a cross-section of society from soldiers to scientists. We find dictionaries of obscure dialects written by government officials, descriptions of their travels by visiting clerics, homely details of everyday life by housewives, as well as technical and scientific works written by scholars.

Contains "verbatim reports of Debates at the East-India house, taken in shorthand for these pages". -- cf. v. 1, p. iii.

In the earliest years of cinema, travelogues were a staple of variety film programs in commercial motion picture theaters. These short films, also known as "scenics," depicted tourist destinations and exotic landscapes otherwise inaccessible to most viewers. Scenics were so popular that they were briefly touted as the future of film. But despite their pervasiveness during the early twentieth century, travelogues have been overlooked by film historians and critics. In Education in the School of Dreams, Jennifer Lynn Peterson recovers this lost archive. Through innovative readings of travelogues and other nonfiction films exhibited in the United States between 1907 and 1915, she offers fresh insights into the aesthetic and commercial history of early cinema and provides a new perspective on the intersection of American culture, imperialism, and modernity in the nickelodeon era. Peterson describes the travelogue's characteristic form and style and demonstrates how imperialist ideologies were realized and reshaped through the moving image. She argues that although educational films were intended to legitimate filmgoing for middle-class audiences, travelogues were not simply vehicles for elite ideology. As a form of instructive entertainment, these technological moving landscapes were both formulaic and also wondrous and dreamlike. Considering issues of spectatorship and affect, Peterson argues that scenics produced and disrupted viewers' complacency about their own place in the world.