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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.
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.
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.
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.
A richly illustrated study of the interplay of word and image in representations of the English countryside, built environment, and domestic space during the interwar period. During the 1920s and 30s, words and pictures in print were the main way in which people received ideas and entertainment, the two working together in a great variety of forms. Many books of the twenties argued against the loss of the countryside because of suburban building. But the demand for post-war building was great and, following the lead of a government report, many books appeared that showed house designs, allowing readers to design or imagine their ownership. Book designs became attractive, helped by colourful dust jackets and internal pictures. Magazines developed individual talents and special interests for both men and women. And, at the periods close, word and image were combined to publicise the growing RAF and give advice about protecting houses from bombing. In all these, words and images worked together as a complex form of art, communication, and entertainment.
The Armenian contribution to Ottoman photography is supposedly well known, with histories documenting the famous Ottoman Armenian-run studios of the imperial capital that produced Orientalist visions for tourists and images of modernity for a domestic elite. Neglected, however, have been the practitioners of the eastern provinces where the majority of Ottoman Armenians were to be found, with the result that their role in the medium has been obscured and wider Armenian history and experience distorted. Photography in the Ottoman East was grounded in very different concerns, with the work of studios rooted in the seismic social, political and cultural shifts that reshaped the region and Armenian lives during the empire's last decades. The first study of its kind, this book examines photographic activity in three sites on the Armenian plateau: Erzurum, Harput and Van. Arguing that local photographic practices were marked by the dominant activities and movements of these places, it describes a medium bound up in educational endeavours, mass migration and revolutionary politics. The camera both responded to and became the instrument of these phenomena. Light is shone on previously unknown practitioners and, more vitally, a perspective gained on the communities that they served. The book suggests that by contemplating the ways in which photographs were made, used, circulated and seen, we might form a picture of the Ottoman Armenian world.