Auth: Reuters correspondent, Theoretical approach.
Author: Caroline Brothers
Drawing on the work of Barthes, Eco, Foucault, Baudrillard, Burgin and Tagg, and on the historians of mentalities, War and Photography presents a theoretical approach to the understanding of press photography in its historical and contemporary context. Brothers applies her argument with special reference to French and British newspaper images of the Spanish Civil War, a selection of which is presented in the book. Rejecting analyses based upon the content of the images alone, she argues that photographic meaning is largely predetermined by its institutional and cultural context. Acting as witnesses despite themselves, photographs convey a wealth of information not about any objective reality, but about the collective attitudes and beliefs particular to the culture in which they operate.
A Cultural History Mary Warner Marien ... photographs remaining from the conflict — often called the first photographed war — show the faltering beginnings of a war photography largely cut off from battle scenes and troop movements.
Author: Mary Warner Marien
Publisher: Laurence King Publishing
Each of the eight chapters takes a period of up to forty years and examines the medium through the lenses of art, science, social science, travel, war, fashion, the mass media and individual practitioners.-Back Cover.
Caroline Brothers, War and Photography: A Cultural History (London and New York: Routledge, 1997), pp. 1–2. 7. Michael Griffin, “The Great War Photographs: Constructing Myths of History and Photojournalism,” in Bonnie Brennen and Hanno ...
Author: Nadav Solomonovich
Publisher: Springer Nature
This book explores the important role that the Korean War played in Turkish culture and society in the 1950s. Despite the fact that fewer than 15,000 Turkish soldiers served in the war, this study shows that the Turkish public was exposed to the war in an unprecedented manner, considering the relatively small size of the country's military contribution. It examines how the Turkish people understood the war and its causes, how propaganda was used to sell the war to the public, including the use of religious propaganda in the public sphere, and the impact of these messages on the Turkish public. Drawing on literary and visual sources, including archival documents, newspapers, protocols of parliamentary sessions, books, poems, plays, memoirs, cartoons and films, the book shows how the propaganda employed by the state and other influential civic groups in Turkey aimed to shape public opinion regarding the Korean War. It explores why this mattered to Turkish politicians, viewing this as instrumental in achieving the country's admission to NATO, and why it mattered to Turkish people more widely, seeing instead a war in the name of universal ideas of freedom, humanity and justice, and comparing the Turkish case to other states that participated in the war. Nadav Solomonovich is a Research Fellow at the University of Haifa, Israel, having previously studied Islamic and Middle eastern Studies at the Hebrew University of Jerusalem. He is the author of several articles on modern Turkey and late Ottoman Palestine.
'Words and Pictures: Writing Atrocity into Canada's First World War Official Photographs' The Journal of Canadian Art History/Annales d'Histoire de l'Art Canadien 31 (2011): 110–26. ... War and Photography: A Cultural History.
Author: Jennifer Wellington
Publisher: Cambridge University Press
What does it mean to display war? Examining a range of different exhibitions in Britain, Canada and Australia, Jennifer Wellington reveals complex imperial dynamics in the ways these countries developed diverging understandings of the First World War, despite their cultural, political and institutional similarities. While in Britain a popular narrative developed of the conflict as a tragic rupture with the past, Australia and Canada came to see it as engendering national birth through violence. Narratives of the war's meaning were deliberately constructed by individuals and groups pursuing specific agendas: to win the war and immortalise it at the same time. Drawing on a range of documentary and visual material, this book analyses how narratives of mass violence changed over time. Emphasising the contingent development of national and imperial war museums, it illuminates the way they acted as spaces in which official, academic and popular representations of this violent past intersect.
In many countries, photos of famous cultural sights and exotic locales were taken once an area was conquered. ... Lewinski, Jorge, The Camera at War: A History of War Photography from 1848 to the Present Day, New York: Simon and ...
Author: John Hannavy
The Encyclopedia of Nineteenth-Century Photography is the first comprehensive encyclopedia of world photography up to the beginning of the twentieth century. It sets out to be the standard, definitive reference work on the subject for years to come. Its coverage is global – an important ‘first’ in that authorities from all over the world have contributed their expertise and scholarship towards making this a truly comprehensive publication. The Encyclopedia presents new and ground-breaking research alongside accounts of the major established figures in the nineteenth century arena. Coverage includes all the key people, processes, equipment, movements, styles, debates and groupings which helped photography develop from being ‘a solution in search of a problem’ when first invented, to the essential communication tool, creative medium, and recorder of everyday life which it had become by the dawn of the twentieth century. The sheer breadth of coverage in the 1200 essays makes the Encyclopedia of Nineteenth-Century Photography an essential reference source for academics, students, researchers and libraries worldwide.
Brothers, C. (1997) War and Photography: A Cultural History. London: Routledge. Butler, J. (2004) Precarious Life: The Powers of Mourning and Violence. London: Verso. Butler, J. (2005) 'War, photography, outrage', PMLA, 120(3): 822–827.
Author: Linda Åhäll
A growing number of scholars have sought to re-centre emotions in our study of international politics, however an overarching book on how emotions matter to the study of politics and war is yet to be published. This volume is aimed at filling that gap, proceeding from the assumption that a nuanced understanding of emotions can only enhance our engagement with contemporary conflict and war. Providing a range of perspectives from a diversity of methodological approaches on the conditions, maintenance and interpretation of emotions, the contributors interrogate the multiple ways in which emotions function and matter to the study of global politics. Accordingly, the innovative contribution of this volume is its specific engagement with the role of emotions and constitution of emotional subjects in a range of different contexts of politics and war, including the gendered nature of war and security; war traumas; post-conflict reconstruction; and counterinsurgency operations. Looking at how we analyse emotions in war, why it matters, and what emotions do in global politics, this volume will be of interest to students and scholars of critical security studies and international relations alike.
Brink, Cornelia (2000) 'Secular Icons: Looking at Photographs from Nazi Concentration Camps', History & Memory, 12, 1, 135–50. Brothers, Caroline (1997) War and Photography: A Cultural History. London: Routledge.
Author: Anne Gjelsvik
Publisher: Columbia University Press
Together, Flags of our Fathers and Letters from Iwo Jima tell the story behind one of history's most famous photographs, Leo Rosenthal's 'Raising the Flag on Iwo Jima'.
London: Routledge. Bond, B. (2002) The Unquiet Western Front – Britain's Role in Literature and History. Cambridge: Cambridge University Press. Brothers, C. (1997) War and Photography – A Cultural History. London: Routledge.
Author: Paul Cornish
Publisher: Taylor & Francis
Curating the Great War explores the inception and subsequent development of museums of the Great War and the animating spirit which lay behind them. The book approaches museums of the Great War as political entities, some more overtly than others, but all unable to escape from the politics of the war, its profound legacies and its enduring memory. Their changing configurations and content are explored as reflections of the social and political context in which they exist. Curating of the Great War has expanded beyond the walls of museum buildings, seeking public engagement, both direct and digital, and taking in whole landscapes. Recognizing this fact, the book examines these museums as standing at the nexus of historiography, museology, anthropology, archaeology, sociology and politics as well as being a lieux de mémoire. Their multi-vocal nature makes them a compelling subject for research and above all the book highlights that it is in these museums that we see the most complete fusion of the material culture of conflict with its historical, political and experiential context. This book is an essential read for researchers of the reception of the Great War through material culture and museums.
Empire's Fetish: Sexualised nationalism and gendering of the Falklands War. ... In J. Aulich (Ed.), Framing the Falklands War: Nationhood, culture and identity (pp. 1–12). ... War and photography: A cultural history. London: Routledge.
Author: Sarah Maltby
This book offers an empirically informed understanding of how identity and agency become wholly embedded within practices of media-remembering. It draws upon data collected from the British military, the BBC and Falkland Islanders during the 30th Anniversary of the Falklands war to uniquely offer multiple perspectives on a single ‘remembering’ phenomenon. The study offers an analysis of the convergence, interconnectedness and interdependence of media and remembering, specifically the production, interpretation and negotiation of remembering in the media ecology. In so doing it not only examines the role of media in the formation and sustaining of collective memory but also the ways those who remember or are remembered in media texts become implicated in these processes.
See, for example: Brothers, C. (1997). War and Photography: A Cultural History ... The Image of the Soldier in German Culture, 1871–1933. ... Pacific Exposures: Photography and the Australia–Japan Relationship. Canberra: ANU Press.
Author: Charlie Winter
Publisher: Hurst Publishers
The summer of 2014–when the Islamic State seized Mosul, Iraq’s second city; captured vast swathes of eastern Syria; and declared itself a latter-day Caliphate–marked a turning point in the history of photography, one that pushed its already contested relationship with reality to its very limits. Uniquely obsessed with narrative, image management and branding, the Islamic State used cameras as weapons in its formative years as a Caliphate. The tens of thousands of propaganda photographs captured during this time were used to denote policy, to navigate through defeat and, perhaps most importantly, to construct an impossible reality: a totalising image-world of Salafi-Jihadist symbols and myths. Based on a deep examination of the 20,000 photographs Charlie Winter collected from the Islamic State’s covert networks online in 2017, this book explores the process by which the Caliphate shook the foundations of modern war photography. Focusing on the period in which it was at its strongest, Winter identifies the implicit value systems that underpinned the Caliphate’s ideological appeal, and evaluates its uniquely malign contribution to the history of the photographic image. The Terrorist Image travels to the heart of what made the Islamic State tick during its prime, providing unique insights into its global appeal and mobilisation successes.