Sarah Dellmann is a researcher in the Department for Media and Culture Studies at Utrecht University.

ACKNOWLEDGEMENTSINTRODUCTIONCHAPTER 1: Analysing Images of Dutchness: From Stereotype to National Cliché1.1 Introduction1.2 Supposed Common Knowledge and the Stereotype1.3 Nationality, Nationalism, Nationness - The Netherlands, Dutch, Dutchness1.4 Approaches1.5 OutlookCHAPTER 2. Spectacularly Dutch: Popular Visual Media from Print to Early Cinema2.1 Introduction2.2 Illustrated Magazines2.3 Travel Guide Books2.4 Travel Brochures, Leaflets, and Promotional Material for (potential) Tourists2.5 Sets of Prints, Cartes de Visite and Cabinet Cards of people in local Costume2.6 Catchpenny Prints2.7 Perspective Prints 2.8 Advertising Trade Cards2.9 Stereoscopic Photographs2.10 Magic Lanterns and Lantern Slide Sets2.11 Picture Postcards2.12 FilmCHAPTER 3. Images of People and Places before 1800. A Pre-history of National 3.1 Introduction3.2 Visual Culture before Industrialization3.3 The same image at various places for the first time: Images of People and Places in Popular Print3.4 Epistemological Status of Images of People and Places3.5 Topographical Images: Vedute, Prospects and Perspective Prints3.6 Realist images of People in Popular Media: Catchpenny Prints3.7 Eighteenth-century images of People and Places in Other Popular Media3.8 ConclusionCHAPTER 4: Authentically Dutch: Images in Anthropological Discourse 4.1 Introduction: Snelleman's conceptual problem4.2 Visual Spectacle of Ethnic Diversity: Afbeeldingen van kleeding, zeden, en gewoonten (1803-1807)4.3 Relics of Tradition, Grounded in Space. Nederlandsche Kleederdrachten, en Zeden en Gebruiken (1849-1850)4.4 The Nation in One Image: Volkeren van verscheyde Landgewesten (c. 1833 or 1856-1900) and In deze prent zullen de kinderen opmerken= (c. 1800-1820)4.5 Narrowing Down the Motifs: Popular Photographs (1870-1890's)4.6 Fixing the National Cliché (1890-1900)4.7 Playing with the Cliché (c.1900-1914)4.8 Dutch Clichés of Dutch Origin: Trade Cards by Philips and Bensdorp4.9 "Dutch" as Combination of Costume and "Race"4.10 Early Cinema's heritage of Anthropologic discourse4.11 ConclusionCHAPTER 5: Typically Dutch: Images in Popular Geography and Armchair Travel Media5.1 Introduction: Geography and Popular Science5.2 Patterns for the Presentation of Knowledge in Geographic Discourse5.3 The Encyclopaedic Pattern 5.3.1 Voyage Pittoresque dans la Frise (1839) 5.3.2 Dutch Life in Town and Country (1901)5.3.3 "A North Holland Cheese Market" (1910)5.3.4 Advertising Trade Cards: Myrrholin Welt Panorama (1902)5.3.5 Film: Comment se fait le fromage de Hollande (1909)5.4 The Panoramic Pattern5.4.1 Voyage pittoresque dans le Royaume des Pays-Bas (1822/1825)5.4.2 Advertising Trade Cards:"Holland in Wort und Bild" (1903)5.4.3 Stereocards: Holland (1905)5.4.4 Films: De dam te Amsterdam omstreeks 1900 (1900) & De Amsterdamse Beurs omstreeks 1900 (1900)5.5 The Virtual Travel Pattern5.5.1 Voyage Pittoresque en Hollande et en Belgique (1857)5.5.2 "Croquis Hollandais" (1905) and "Door Holland met pen en camera" (1906)5.5.3 Lantern Slide Set: Quer durch Holland (1906)5.5.4 Films: Prinsengracht (1899), A Pretty Dutch Town (1910) and Vita d'Olanda (1911)5.6 ConclusionCHAPTER 6. Selling a "Dutch Experience": Images in Tourism and Consumer Culture6.1 Introduction: Discovering the Authentic6.2 Before Tourism: Travel in Leisure Through and to The Netherlands6.3 Travel Promotion by Thomas Cook & Son, VVV and Centraal Bureau6.4 Narrated and Practical Guide books6.5 The Cliché in Consumer Culture: Dutchness in Advertising Trade Cards6.6 Picture Postcards6.7 Lantern Slide Sets6.8 Film6.9 Ways of Looking at Dutchness: Reactions to the Cliché6.10 Conclusion7. CONCLUSION7.1 Towards an Archaeology of Filming "the Nation/al"7.2 OutlookANNEX8a Bibliography8b Published Sources8c Other Sources and Ephemera by Medium 8d Digital Resources8e List of Figures