ABSTRACT
Chapter Three hones in on the two core case study locations of Angkor and Famagusta to begin to understand how heritage and photography have intersected over the last two centuries. The chapter can be broken down into three main sections: first, an exploration of photographic temporality in relation to ‘historic’ subjects, as read via Roland Barthes’ concept of the ‘three tenses;’ second, a close interrogation of the work of John Thomson, looking both at the affective moment of photographic production that he enacted in Cyprus and Cambodia, and the initial spread of his images via diverse channels; third, a reflection on two more recent ‘moments’ the photographic life of each locality, taking in the post-conflict redevelopment of Angkor and the ongoing division of Cyprus and Famagusta. Across these empirical terrains the chapter asks to what extent photography has been implicated in processes of heritage making, and what the consequences of this spatial and temporal ordering might be for notions of memory, preservation, and the future of heritage.
