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Author: Beatriz Pichel
Publisher: Cultural History of Modern War
ISBN: 9781526151902
Category :
Languages : en
Pages : 248
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Book Description
Between 1914 and 1918, military, press and amateur photographers produced thousands of pictures. Either classified in military archives specially created with this purpose in 1915, collected in personal albums or circulated in illustrated magazines, photographs were supposed to tell the story of the war. Picturing the Western Front argues that photographic practices also shaped combatants and civilians' war experiences. Doing photography (taking pictures, posing for them, exhibiting, cataloguing and looking at them) allowed combatants and civilians to make sense of what they were living through. Photography mattered because it enabled combatants and civilians to record events, establish or reinforce bonds with one another, represent bodies, place people and events in imaginative geographies and making things visible, while making others, such as suicide, invisible. Photographic practices became, thus, frames of experience.
Author: Beatriz Pichel
Publisher: Cultural History of Modern War
ISBN: 9781526151902
Category :
Languages : en
Pages : 248
Get Book Here
Book Description
Between 1914 and 1918, military, press and amateur photographers produced thousands of pictures. Either classified in military archives specially created with this purpose in 1915, collected in personal albums or circulated in illustrated magazines, photographs were supposed to tell the story of the war. Picturing the Western Front argues that photographic practices also shaped combatants and civilians' war experiences. Doing photography (taking pictures, posing for them, exhibiting, cataloguing and looking at them) allowed combatants and civilians to make sense of what they were living through. Photography mattered because it enabled combatants and civilians to record events, establish or reinforce bonds with one another, represent bodies, place people and events in imaginative geographies and making things visible, while making others, such as suicide, invisible. Photographic practices became, thus, frames of experience.
Author: Beatriz Pichel
Publisher: Manchester University Press
ISBN: 1526151898
Category : History
Languages : en
Pages : 270
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Book Description
Between 1914 and 1918, military, press and amateur photographers produced thousands of pictures. Either classified in military archives specially created with this purpose in 1915, collected in personal albums or circulated in illustrated magazines, photographs were supposed to tell the story of the war. Picturing the Western Front argues that photographic practices also shaped combatants and civilians’ war experiences. Doing photography (taking pictures, posing for them, exhibiting, cataloguing and looking at them) allowed combatants and civilians to make sense of what they were living through. Photography mattered because it enabled combatants and civilians to record events, establish or reinforce bonds with one another, represent bodies, place people and events in imaginative geographies and making things visible, while making others, such as suicide, invisible. Photographic practices became, thus, frames of experience.
Author: Steve Baker
Publisher: University of Illinois Press
ISBN: 9780252070303
Category : History
Languages : en
Pages : 284
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Book Description
Explores how human beings use animals and images of animals to define themselves--and how those depictions interfere with our abilities to understand the true nature of animals.
Author: Stuart Allan
Publisher: Taylor & Francis
ISBN: 113647367X
Category : Language Arts & Disciplines
Languages : en
Pages : 288
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Book Description
In contrast with historical examinations centring the evolving role of the war correspondent, Conflicting Images focuses on the contribution of photographers and photojournalists, providing an evaluative appraisal of war photography in the news and its development from the nineteenth century to the twenty-first century. Stuart Allan and Tom Allbeson critically explore diverse genres of war photography across a broad historical sweep, encompassing events from the Crimean War (1853–56) and the Civil War in the United States (1861–65) up to and including conflicts unfolding in Syria and Ukraine. This book reflects on the relevance of different types of warfare to visual reporting, from colonial conquest via trench warfare and aerial bombardment, to the ideological dimensions of the Cold War, and ‘embedding’ and ‘winning hearts and minds’ during the ‘War on Terror’ and its aftermath. In pinpointing illustrative examples, the authors examine changing dynamics of production, dissemination, and public engagement. Readers will come to understand how current efforts to rethink the future of war photography in a digital age can benefit from a close and careful consideration of war photography’s origins, early development, and gradual, uneven transformation over the years. Conflicting Images aims to invigorate ongoing enquires and inspire new, alternative trajectories for future research and practice. This book is recommended reading for researchers and advanced students of visual journalism and conflict reporting.
Author: Karen Corsano
Publisher: Rowman & Littlefield
ISBN: 1442230517
Category : Art
Languages : en
Pages : 341
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Book Description
This sensitive and compelling biography sheds new light on John Singer Sargent’s art through an intimate history of his family. Karen Corsano and Daniel Williman focus especially on his niece and muse, Rose-Marie Ormond, telling her story for the first time. In a score of paintings created between 1906 and 1912, John Singer Sargent documented the idyllic teenage summers of Rose-Marie and his own deepening affection for her serene beauty and good-hearted, candid charm. Rose-Marie married Robert, the only son of André Michel, the foremost art historian of his day, who had known Sargent and reviewed his paintings in the Paris Salons of the 1880s. Robert was a promising historian as well, until the Great War claimed him first as an infantry sergeant, then a victim, in 1914. His widow Rose-Marie served as a nurse in a rehabilitation hospital for blinded French soldiers until she too was killed, crushed under a bombed church vault, in 1918. Sargent expressed his grief, as he expressed all his emotions, on canvas: He painted ruined French churches and, in Gassed, blinded soldiers; he made his last murals for the Boston Public Library a cryptic memorial to Rose-Marie and her beloved Robert. Braiding together the lives and families of Rose-Marie, Robert, and John Sargent, the book spans their many worlds—Paris, the Alps, London, the Soissons front, and Boston. Drawing on a rich trove of letters, diaries, and journals, this beautifully illustrated history brings Sargent and his times to vivid life.
Author: Lyle Massey
Publisher: Penn State Press
ISBN: 0271029803
Category : Art
Languages : en
Pages : 190
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Book Description
In Picturing Space, Displacing Bodies, Lyle Massey argues that we can only learn how and why certain kinds of spatial representation prevailed over others by carefully considering how Renaissance artists and theorists interpreted perspective. Combining detailed historical studies with broad theoretical and philosophical investigations, this book challenges basic assumptions about the way early modern artists and theorists represented their relationship to the visible world and how they understood these representations. By analyzing technical feats such as anamorphosis (the perspectival distortion of an object to make it viewable only from a certain angle), drawing machines, and printed diagrams, each chapter highlights the moments when perspective theorists failed to unite a singular, ideal viewpoint with the artist&’s or viewer&’s viewpoint or were unsuccessful at conjoining fictive and lived space.Showing how these &“failures&” were subsequently incorporated rather than rejected by perspective theorists, the book presents an important reassessment of the standard view of Renaissance perspective. While many scholars have maintained that perspective rationalized the relationships among optics, space, and painting, Picturing Space, Displacing Bodies asserts instead that Renaissance and early modern theorists often revealed a disjunction between geometrical ideals and practical applications. In some cases, they not only identified but also exploited these discrepancies. This discussion of perspective shows that the painter&’s geometry did not always conform to the explicitly rational, Cartesian formula that so many have assumed, nor did it historically unfold according to a standard account of scientific development.
Author: George L. Mosse
Publisher: Oxford University Press
ISBN: 0199923442
Category : History
Languages : en
Pages : 273
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Book Description
At the outbreak of the First World War, an entire generation of young men charged into battle for what they believed was a glorious cause. Over the next four years, that cause claimed the lives of some 13 million soldiers--more than twice the number killed in all the major wars from 1790 to 1914. But despite this devastating toll, the memory of the war was not, predominantly, of the grim reality of its trench warfare and battlefield carnage. What was most remembered by the war's participants was its sacredness and the martyrdom of those who had died for the greater glory of the fatherland. War, and the sanctification of it, is the subject of this pioneering work by well-known European historian George L. Mosse. Fallen Soldiers offers a profound analysis of what he calls the Myth of the War Experience--a vision of war that masks its horror, consecrates its memory, and ultimately justifies its purpose. Beginning with the Napoleonic wars, Mosse traces the origins of this myth and its symbols, and examines the role of war volunteers in creating and perpetuating it. But it was not until World War I, when Europeans confronted mass death on an unprecedented scale, that the myth gained its widest currency. Indeed, as Mosse makes clear, the need to find a higher meaning in the war became a national obsession. Focusing on Germany, with examples from England, France, and Italy, Mosse demonstrates how these nations--through memorials, monuments, and military cemeteries honoring the dead as martyrs--glorified the war and fostered a popular acceptance of it. He shows how the war was further promoted through a process of trivialization in which war toys and souvenirs, as well as postcards like those picturing the Easter Bunny on the Western Front, softened the war's image in the public mind. The Great War ended in 1918, but the Myth of the War Experience continued, achieving its most ruthless political effect in Germany in the interwar years. There the glorified notion of war played into the militant politics of the Nazi party, fueling the belligerent nationalism that led to World War II. But that cataclysm would ultimately shatter the myth, and in exploring the postwar years, Mosse reveals the extent to which the view of death in war, and war in general, was finally changed. In so doing, he completes what is likely to become one of the classic studies of modern war and the complex, often disturbing nature of human perception and memory.
Author: Michael Roper
Publisher:
ISBN:
Category : Family & Relationships
Languages : en
Pages : 376
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Book Description
What did home mean to British soldiers and how did it help them to cope with the psychological strains of the Great War? Family relationships lie at the heart of this book. It explores the contribution letters and parcels from home played in maintaining the morale of this largely young, amateur army. And it shows how soldiers, in their turn, sought to adapt domestic habits to the trenches. Pursuing the unconscious clues within a rich collection of letters and memoirs with the help of psychoanalytical ideas, including those formulated by the veteran tank commander Wilfred Bion, this study asks fundamental questions about the psychological resources of this generation of young men. It reveals how the extremities of battle exposed the deepest emotional ties of childhood, and went on marking the post-war domestic lives of those who returned.
Author: John P. McKay
Publisher: Macmillan Higher Education
ISBN: 145769509X
Category : History
Languages : en
Pages : 1092
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Book Description
Understanding Western Society, Second Edition, features a brief, question-drive narrative that models for students the inquiry-based methods used by historians and helps students understand what’s really important to know about Western civilization.
Author: Pearl James
Publisher: U of Nebraska Press
ISBN: 0803226950
Category : History
Languages : en
Pages : 416
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Book Description
Essays by Jay Winter, Jeffrey T. Schnapp, Jennifer D. Keene, and others reveal the centrality of visual media, particularly the poster, within the specific national contexts of Britain, France, Germany, Russia, and the United States during World War I.℗¡Ultimately, posters were not merely representations of popular understanding of the war, but instruments influencing the.
