I began this book by pointing to imperial practices of light that in turn inflected the more recognisable representations from twentieth-century India, such as the literary movement Chhayavaad or cinematic noir. While the succeeding chapters went on to develop an archaeology for such visual practices in the long nineteenth century, in closing I would like to indicate how such an approach might help in addressing more intractable visual archives that have remained bound to dominant tropes of mimicry and the latter’s devaluation of the copy....
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