In the 19th century, photography began to become financially accessible, but it was still a relatively new technology, making the idea of permanently recording someone's image seem unusual. The first documented photograph appeared in 1826, but it was in 1839 that Louis Daguerre introduced the daguerreotype, the first commercially successful photographic method, which recorded images on small metal plates.
With the rapid improvement of the process, photography gained popularity, and a habit established itself in many British families: taking pictures of deceased relatives as an eternal memory. Although documenting the dead was not unprecedented, before the 19th century, this was restricted to the wealthy, who hired artists to paint portraits. Photography, being much more economical, allowed families of lower income to also have access to this memory, especially from the 1850s.
The high mortality rate in Europe, which hovered around 40 years due to childhood vulnerability in an era without antibiotics, generated a large demand. During mourning, families sought out photographers to create a record, an act known as 'memento mori,' which means 'remember that you will die' in Latin.
Although these images were known as 'Victorian death photos' in English, the practice expanded throughout Europe, as well as to other places such as the United States and Australia. Historian Stanley Burns calculated that about 30 million daguerreotypes of deceased people were produced in the US between 1841 and 1860.
These photographs required careful posing: mothers holding children, couples embracing, or babies sleeping. Frequently, the models were placed in coffins or beds. Unlike portraits of living people, which were taken in studios, photos of the dead were generally taken in domestic settings. Families cared for the loved one, dressing them in nice clothes and arranging special hairstyles. Some photographers had the technique of opening the eyes of the corpses or even painting the eyes in the photos to simulate them being open.
Many Victorian photographers were skilled at posing deceased babies to look like they were sleeping, applying even a slight pink tone to the cheeks to suggest vitality. The setting was also planned, decorated with flowers and items reminiscent of time, such as clocks and hourglasses, indicating that it was a post-mortem image. There were also photos where the living posed next to the deceased. In these cases, a notable effect occurred: the dead appeared sharper in the final image because they remained still during the capture (which lasted a few minutes), while the living appeared slightly blurred. Some children were photographed with their deceased dogs.
Later examples show the deceased inside a coffin, accompanied by a large group of people at the funeral. This type of record was more popular in Europe than in the US.
There were practical challenges in dealing with a body. In a 1873 edition of the magazine Philadelphia Photographer, photographer Albert Southworth reported: 'If a person has died and friends fear there will be liquid expulsion from the mouth, it is possible to turn them carefully, as if under the effect of an emetic. This can be done in less than a minute; all contents will be expelled, and then it is possible to clean the mouth, wash the face, and handle the body as well as if the person were alive.'
However, the general rule was to treat the deceased with the utmost respect. Post-mortem photos were not a pastime but a sincere attempt to keep the relative alive in memory. The poses were designed to convey solemnity, and the bodies were not subjected to disrespectful manipulations. Claims that corpses were hung or supported upright to look alive lack historical basis.
These photographs were preserved as memories, displayed in homes, sent to family and friends, or kept in lockets and pockets. The practice of post-mortem photos declined in the early 20th century due to medical advancements, the reduction in infant mortality, and the implementation of stricter sanitary standards in body treatment. Additionally, progress in photographic technology and the emergence of home cameras allowed people to maintain extensive records of their loved ones while alive, making post-mortem photography unnecessary.
The trailer for the highly anticipated film 'Ramayana' by director Nitesh Tiwari has been released. In addition to the main cast members, viewers are very interested in who is playing the roles of Sita's sisters in this epic mythological saga. This question was clarified by a well-known television actress who confirmed her participation in the film.
Actress Surbhi Das, who gained recognition through the TV shows 'Nima Dondhopa' and 'Pandya Store', will be part of Nitesh Tiwari's project. Surbhi herself confirmed that she will play the role of Shrutakirti in the film, the younger sister of Mata Sita and wife of Shatrughna.
Surbhi Das also shared details about her journey to participate in this major project. She recounted that she initially auditioned at the office of the renowned casting director Mukesh Chhabda. Approximately two months after the audition, while filming her TV show 'Pandya Store', she received final notification from the creators about being selected for the project.
After the trailer's release, discussions began on social media about how Surbhi Das's appearance overshadowed Sai Pallavi.
Before starting in the Hindi entertainment industry, Surbhi Das gained particular fame in Assamese cinema and television. Seeking to fulfill her dreams, she moved from Assam to Mumbai, where she took her first step in the Hindi television industry through the series 'Nima Dondhopa'. Subsequently, she gained significant popularity among television viewers through her participation in the popular show 'Pandya Store'.
In addition to projects in Hindi and Assam, Surbhi Das has demonstrated her talent in Bengali cinema. She also participated in the Bengali film 'Dada Tumi Dushto Bor', released in 2022, and her performance was highly praised by audiences.
In the near future, Surbhi plans to showcase her acting skills in several interesting projects. Besides 'Ramayana', she will play a strong female role in a film based on the events of the 1971 Indo-Pakistani War. Furthermore, she is an important part of the upcoming film by renowned director Vikas Bahal titled 'Dil Ka Darwaza Holna Darling'.
The film Spider-Man: Brand New Day, starring Tom Holland, has gained immense global popularity. Fans worldwide, including Indian audiences, actively watched the new movie, causing a real sensation.
On the first day in India, the film collected a net revenue of 60.60 crore rupees. Since the premiere took place on Wednesday, a working day, and Friday was also a working day, this slightly affected the box office collections on the second day. According to Sakencilk, on the second day, the film collected a net revenue of 49.35 crore rupees with an attendance of 64.8%.
Thus, the total net collection for the film reached 109.95 crore rupees over two days.
Tom Holland's film became the fastest earning picture from Hollywood, crossing the 100 crore rupee mark, thereby beating the record of Avengers Endgame. Previously, Endgame reached the 100 crore rupee mark in three days in 2019, whereas Spider-Man achieved it in just two days.
Judging by the current pace, the film is likely to collect 250 crore rupees by the end of the first week. In that case, it will become the highest-grossing Spider-Man franchise film in India. The previous film in the franchise, No Way Home, brought in a total revenue of 212 crore rupees in India, featuring Tom Holland as well as older versions of Spider-Man—Tobey Maguire and Andrew Garfield. This film was released in 2021 during the COVID-19 pandemic and garnered significant public interest. If the new movie continues to develop at the same pace, it could break all MCU records in India and set a new record.
The ancient Chinese martial art of Wushu is gaining increasing support among young people in Africa. Practitioners in Kenya view Wushu not only as a competitive sport but also as a means of achieving self-discipline, self-control, and cultural exchange.
Athletes from all over Kenya gathered in the capital, Nairobi, to participate in Wushu competitions organized by the Confucius Institute at Kenyatta University. This demonstrates the growing appeal of this sport in the East African country.
Wushu combines athleticism, artistry, and centuries-old Chinese traditions. It includes graceful staff exercises, powerful kicks, acrobatic jumps, and lightning-fast attacks that require high precision, balance, and endurance.
For 22-year-old Elvis Munyangi, starting Wushu was inspired by watching martial arts movies and online videos. Munyangi noted that he was inspired by action films, after which he stumbled upon Wushu performances on YouTube and decided to start training.
He believes that every movement in Wushu tells a story, and every performance reflects years of hard work, sacrifice, and determination. For many participants, competitions serve as an opportunity to assess their progress and learn from the experience of other athletes. Munyangi added that participating in competitions helps understand the current level of mastery and allows one to learn a great deal.
For his teammate Veronica Wambu, Wushu has become a tool for personal growth and emotional discipline. She emphasized that practice teaches self-control: if someone insults you, you do not react immediately, but learn to restrain yourself or walk away. She noted the great deal of discipline in Wushu.
Practitioners claim that this sport promotes self-confidence, resilience, and respect while introducing them to aspects of Chinese culture and philosophy.
Organizers believe that Wushu can play a broader role beyond sporting contests. Professor Xiaodong Zhou, Director of the Confucius Institute at Kenyatta University, stated that martial arts are not just physical movement but also culture. He added that through this culture, people learn to interact with each other, and martial arts can improve health, strengthen character, and build connections between people.
Zhou noted Wushu's potential in deepening cultural ties between Africa and China by promoting mutual understanding through sport. Organizers hope this marks the beginning of a new chapter for Wushu in Kenya. Supporters believe that as interest in this sport grows, it could become an important platform for youth development, cultural exchange, and strengthening interpersonal relations between Kenya and China.
