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This volume honors those who experienced the Vietnam War through striking portraits and personal accounts of the conflict and its repercussions. This book offers a uniquely human perspective on the Vietnam War through portraits and stories of American veterans, southern Vietnamese veterans, and civilians. The surreal imagery of Thomas Sanders’ photography encourages the viewer to take a closer look at those who experienced the war. These images are paired with the individuals’ haunting, inspirational, and sometimes comical stories of the war. Set in a surreal jungle environment, the portraits evoke the sense of darkness and uncertainty felt by those who experienced the war. Some portrait subjects hold objects that evoke their time of service: the common cigarette pack smoked by the vets while in the jungle; a homemade grenade made by the northern Vietnamese; and the “order to report” document that changed many a life.
These and a hundred other images are seared into our consciousness - but a very different viewpoint appears in this vision of three decades of war in Vietnam.".
Rare and highly sought-after photobook documenting the Vietnam War
The author of Black Hawk Down vividly recounts a pivotal Vietnam War battle in this New York Times bestseller: “An extraordinary feat of journalism”. —Karl Marlantes, Wall Street Journal In Hue 1968, Mark Bowden presents a detailed, day-by-day reconstruction of the most critical battle of the Tet Offensive. In the early hours of January 31, 1968, the North Vietnamese launched attacks across South Vietnam. The lynchpin of this campaign was the capture of Hue, Vietnam’s intellectual and cultural capital. 10,000 troops descended from hidden camps and surged across the city, taking everything but two small military outposts. American commanders refused to believe the size and scope of the siege, ordering small companies of marines against thousands of entrenched enemy troops. After several futile and deadly days, Lieutenant Colonel Ernie Cheatham would finally come up with a strategy to retake the city block by block, in some of the most intense urban combat since World War II. With unprecedented access to war archives in the United States and Vietnam and interviews with participants from both sides, Bowden narrates each stage of this crucial battle through multiple viewpoints. Played out over 24 days and ultimately costing 10,000 lives, the Battle of Hue was by far the bloodiest of the entire war. When it ended, the American debate was never again about winning, only about how to leave. A Los Angeles Times Book Prize Finalist in History Winner of the 2018 Marine Corps Heritage Foundation Greene Award for a distinguished work of nonfiction
Early Photography in Vietnam is a fascinating and outstanding pictorial record of photography in Vietnam during the century of French rule. In more than 500 photographs, many published here for the first time, the volume records Vietnam's capture and occupation by the French, the wide-ranging ethnicities and cultures of Vietnam, the country's fierce resistance to foreign rule, leading to the reassertion of its own identity and subsequent independence. This benchmark volume also includes a chronology of photography (1845-1954), an index of more than 240 photographers and studios in the same period, appendixes focusing on postcards, royal photographic portraits, Cartes de Visite and Cabinet Cards, as well as a select bibliography and list of illustrations.
Between the French Indochina war of the fifties and the fall of Phnom Penn and Saigon in 1975, 134 photographers from different nations were killed. Horst Faas, two-times Pullitzer Prize winner and Chief Photographer for The Associated Press in Saigon at the height of the war, and Tim Page, another veteran who had been badly wounded, have gathered many thousands of photos from the Western agencies and from archives in Hanoi and Ho Chi Minh City. These have now been assembled to form both a monument to the dead and a record of the most terrifying war photography ever taken. Never again will the media have the kind of access to the war zone that was offered to the photographers in Vietnam. In many cases the photographers tried to get as close as possible, then paid the price.
In Warring Visions, Thy Phu explores photography from dispersed communities throughout Vietnam and the Vietnamese diaspora, both during and after the Vietnam War, to complicate narratives of conflict and memory. While the visual history of the Vietnam War has been dominated by American documentaries and war photography, Phu turns to photographs circulated by the Vietnamese themselves, capturing a range of subjects, occasions, and perspectives. Phu's concept of warring visions refers to contrasts in the use of war photos in North Vietnam, which highlighted national liberation and aligned themselves with an international audience, and those in South Vietnam, which focused on family and everyday survival. Phu also uses warring visions to enlarge the category of war photography, a genre that usually consists of images illustrating the immediacy of combat and the spectacle of violence, pain, and wounded bodies. She pushes this genre beyond such definitions by analyzing pictures of family life, weddings, and other quotidian scenes of life during the war. Phu thus expands our understanding of how war is waged, experienced, and resolved.
Larry Burrows photography of the war images from Vietnam brought the war home for the American public.
See firsthand how war photography is used to sway public opinion. In the autumn of 2014, the Royal Air Force released blurry video of a missile blowing up a pick-up truck which may have had a weapon attached to its flatbed. This was a lethal form of gesture politics: to send a £9-million bomber from Cyprus to Iraq and back, burning £35,000 an hour in fuel, to launch a smart missile costing £100,000 to destroy a truck or, rather, to create a video that shows it being destroyed. Some lives are ended—it is impossible to tell whose—so that the government can pretend that it taking effective action by creating a high-budget snuff movie. This is killing for show. Since the Vietnam War the way we see conflict—through film, photographs, and pixels—has had a powerful impact on the political fortunes of the campaign, and the way that war has been conducted. In this fully illustrated and passionately argued account of war imagery, Julian Stallabrass tells the story of post-war conflict, how it was recorded and remembered through its iconic photography. The relationship between war and photograph is constantly in transition, forming new perspectives, provoking new challenges: what is allowed to be seen? Does an image have the power to change political opinion? How are images used to wage war? Stallabrass shows how photographs have become a vital weapon in the modern war: as propaganda—from close-quarters fighting to the drone’s electronic vision—as well as a witness to the barbarity of events such as the My Lai massacre, the violent suppression of insurgent Fallujah or the atrocities in Abu Ghraib. Through these accounts Stallabrass maps a comprehensive theoretical re-evaluation of the relationship between war, politics and visual culture. Killing for Show offers: 190 photographs encompassing photojournalism, artists’ images, photographs by soldiers and amateurs and drones A comprehensive comparison of the role of photography in the Vietnam and Iraq Wars An explanation of the waning power of iconic images in collective memory An analysis of the failure of military PR and the public display of killing A focus on what can and cannot be seen, photographed and published An exploration of the power and limits of amateur photography Arguments about how violent images act on democracy This full-color book is an essential volume in the history of warfare and photography
"Accompanied by a major traveling exhibition of Adams's work"--Back of jacket.