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Contains primary source material.
Images of war saturated American culture between the 1940s and the 1970s, as U.S. troops marched off to battle in World War II, the Korean War, and the Vietnam War. Exploring representations of servicemen in the popular press, government propaganda, museum exhibits, literature, film, and television, Andrew Huebner traces the evolution of a storied American icon--the combat soldier. Huebner challenges the pervasive assumption that Vietnam brought drastic changes in portrayals of the American warrior, with the jaded serviceman of the 1960s and 1970s shown in stark contrast to the patriotic citizen-soldier of World War II. In fact, Huebner shows, cracks began to appear in sentimental images of the military late in World War II and were particularly apparent during the Korean conflict. Journalists, filmmakers, novelists, and poets increasingly portrayed the steep costs of combat, depicting soldiers who were harmed rather than hardened by war, isolated from rather than supported by their military leadership and American society. Across all three wars, Huebner argues, the warrior image conveyed a growing cynicism about armed conflict, the federal government, and Cold War militarization.
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Bestselling author David Shields analyzed over a decade's worth of front-page war photographs fromTheNew York Timesand came to a shocking conclusion: the photo-editing process ofthe "paper of record,"by way of pretty, heroic, and lavishly aesthetic image selection, pullsthe woolover the eyes of its readers; Shields forces us to face not only the the media's complicity in dubious and catastrophic military campaigns but our own as well.This powerful media mouthpiece, the mightyTimes, far from being a check on governmental power, is in reality a massive amplifier for its dark forces by virtue of the way it aestheticizeswarfare. Anyone baffled by the willful American involvement in Iraq and Afghanistan can't help but see in this book how eagerly and invariably theTimesled the way in making the case for these wars through the manipulation of its visuals. Shields forces the reader to weigh the consequences of our own passivity in the face of these images' opiatic numbing. The photographs gathered inWar Is Beautiful, often beautiful and always artful, are filters of reality rather than the documentary journalism they purport to be.
In the post 9/11 world, the emotionally charged concepts of identity and ideology, enmity and political violence have once again become household words. Contrary to the serene assumptions of the early 1990s, history did not end. Civilisations are busy clashing against one another, and the self-proclaimed pacified humanity is once again showing its barbaric roots. Religion mixes with politics to produce governments that abuse even their own citizens, and victorious insurgents too often fail to carry out the promised reforms. Terrorists blow up unsuspecting pedestrians, and allegedly democratic nations threaten to bomb allegedly less democratic ones back to the Stone Age. Mass demonstrations materialise like flash mobs out of nowhere, prepared to hold their ground until the bitter end. Where does all this passionate intensity come from? To better understand how the ideological enmity of today is moulded, spread and managed, this book investigates the propaganda operations of the past. Its topics range from the ruthless portrayal of female enemy soldiers in an early-20th-century civil war setting to the multiple enemy images cherished by Adolf Hitler, and onwards, to the WWII Soviet Russians as a subtype of a more ancient notion of the Eastern Hordes. Of more recent events, the book covers the Rwandan genocide of 1994 and the still ongoing Israel-Palestine conflict. The closing chapter on cyber warfare introduces the reader to the invisible enemies of the future.
The phrase 'War on Terror' has quietly been retired from official usage, but it persists in the American psyche, and our understanding of it is hardly complete. Exploring the role of verbal and visual images in the War on Terror, the author finds a conflict whose shaky metaphoric and imaginary conception has created its own reality.
Great Photographs of the Civil War brings together in one volume the most evocative Civil War photographs ever published. The images--selected by Time Life editors from thousands of photographs preserved in museums and collections around the country--tell the epic story of a nation divided. Reflected here are the tireless efforts of pioneering photographers who used heavy equipment and portable darkrooms mounted on wagon beds to record this fateful struggle. The editors have assembled 300 gripping images, some of them recognized classics and others rarely seen, into 20 chronological photo essays. Here, the crucial events of the war, from the bloodiest day at Antietam and the Confederate high tide at Gettysburg to the battles for Atlanta and the climactic siege of Petersburg, are conveyed with power and precision in the defining photographs of the conflict that redefined our nation.
Since at least the Middle Ages, the laws of war have distinguished between combatants and civilians under an injunction now formally known as the principle of distinction. The principle of distinction is invoked in contemporary conflicts as if there were an unmistakable and sure distinction to be made between combatant and civilian. As is so brutally evident in armed conflicts, it is precisely the distinction between civilian and combatant, upon which the protection of civilians is founded, cannot be taken as self-evident or stable. Helen M. Kinsella documents that the history of international humanitarian law itself admits the difficulty of such a distinction. In The Image before the Weapon, Kinsella explores the evolution of the concept of the civilian and how it has been applied in warfare. A series of discourses—including gender, innocence, and civilization—have shaped the legal, military, and historical understandings of the civilian and she documents how these discourses converge at particular junctures to demarcate the difference between civilian and combatant. Engaging with works on the law of war from the earliest thinkers in the Western tradition, including St. Thomas Aquinas and Christine de Pisan, to contemporary figures such as James Turner Johnson and Michael Walzer, Kinsella identifies the foundational ambiguities and inconsistencies in the principle of distinction, as well as the significant role played by Christian concepts of mercy and charity. She then turns to the definition and treatment of civilians in specific armed conflicts: the American Civil War and the U.S.-Indian wars of the nineteenth century, and the civil wars of Guatemala and El Salvador in the 1980s. Finally, she analyzes the two modern treaties most influential for the principle of distinction: the 1949 IV Geneva Convention Relative to the Protection of Civilian Persons in Times of War and the 1977 Protocols Additional to the 1949 Conventions, which for the first time formally defined the civilian within international law. She shows how the experiences of the two world wars, but particularly World War II, and the Algerian war of independence affected these subsequent codifications of the laws of war. As recognition grows that compliance with the principle of distinction to limit violence against civilians depends on a firmer grasp of its legal, political, and historical evolution, The Image before the Weapon is a timely intervention in debates about how best to protect civilian populations.
In 1945, amidst the ruins of a bomb-damaged German home a tattered book, Deutschland Erwache, was recovered as a souvenir by a British soldier. This rare and invaluable primary resource now forms the basis of The Rise of Hitler Illustrated, which is a photographic record of Hitlers' rise to power from when he was born in 1889, as he took over the hearts and minds of the German people, and his eventual arrival at the top.??The original book is typical of the propaganda of the time, with the obvious non-critical acceptance of everything that Adolf Hitler was and what he stood for. It attempts to present him as a peace–loving man, who wanted nothing other than quiet in his 'beloved Alps', who dearly loved children and was kind to all. But as we all know, the truth was completely different. He was a man who, despite his unbounded evilness, was able to assert limitless power over a nation before creating maximum misery for millions.??When found, the original book was divest of its cover and all the worse for wear, but Trevor Salisbury has gone to every effort to salvage some of the images, the result – a fresh and new perspective that sheds light on Hitler's control of Germany. It is a welcome addition to Pen & Sword's highly acclaimed Images of War series.