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'The Art of the American Snapshot' examines the evolution of this most common form of photography. The book shows that among the countless snapshots taken by American amateurs, some works, through intention or accident, continue to resonate long after their intimate context and original meaning have been lost.
"Collection of pictures gathered by the authors during a two-year search in which they canvassed neighborhoods and knocked on people's doors, asking to see people's dusty albums and yellowing scrapbooks."--From jacket flap
Snapshots of a Century in African American Lives heralds the artistry and historical importance of amateur snapshots taken during the twentieth century. Noted scholar Professor Emeritus Edmund W. Gordon wrote (Foreword): "This is also a book about the universal celebration of the beauty and dignity of the human condition as it is and can be captured by amateur camera persons. . ." A book that captures visual history and visual culture is an ambitious project. Snapshots of a Century in African American Lives contains more than 100 images never before in publication. Images were culled from a private collection. Photojournalism professor D. Michael Cheers wrote (Introduction): "These creative expressions, which showcase posed, candid and ordinary, yet unique, images, hand us a lens that drops in on strangers and allows all of us to reconnect with 'our African heritage.'" Photography curator Carol McCusker described their impact in the Afterword: "Through their details, we are moved back in time or to somewhere in ourselves. They engage us in history in ways other media does not. In this capacity, Snapshots of a Century in African-American Lives makes us aware of what we know, what we think we know, and what we collectively aspire toward or want to forget, and, throughout, is undeniably American in our optimism." Educators, historical societies, and museums will identify the important relevance of this book and the collection represented. This 120 page book is available in 8.5 x 11 soft cover format. A limited edition of 100 copies (11 x 11 hard cover) will be available through the editor. The creator of this work, author and editor Jennifer Cain Bohrnstedt, is available for talks and book-signing events. Contact her at: [email protected]
The Lebanese photographer Marie al-Khazen seized every opportunity to use her camera during the years that she was active between 1920 and 1940. She not only documented her travels around tourist sites in Lebanon but also sought creative experimentation with her camera by staging scenes, manipulating shadows, and superimposing negatives to produce different effects in her prints. Within her photographs, bedouins and European friends, peasants and landlords, men and women comfortably share the same space. Her photographs include an intriguing collection portraying her family and friends living their everyday lives in 1920s and '30s Zgharta, a village in the north of Lebanon. Yasmine Nachabe Taan explores these photographs, emphasizing the ways in which notions of gender and class are inscribed within them and revealing how they are charged with symbols of women's emancipation to today's viewers, through women's presence as individuals, separate from family restrictions of that time. Images in which women are depicted smoking cigarettes, driving cars, riding horses, and accompanying men on hunting trips counteract the common ways in which women were portrayed in contemporary Lebanon.
During the nineteeth century, something vital went missing: the human being. In Unsuspecting Souls, Barry Sanders examines modern society's indifference to the individual. From the Industrial Revolution, where the disappearance of care for human beings begins slowly, to our own age, where societal events require less person–to–person interaction, Sanders laments that what makes us most human is slowly dying. Our days are filled with little but a continuous bombardment of "information," demands on our attention, that brings us out of our world and into one of inhumanity and abstraction. We are losing entirely any palpable attachment to our physical reality. And we've also lost the original sense of a collective consciousness. This loss has been fomenting for two centuries now, dating back to the rise of European powers and worldwide colonization. This has led to the notion that we need to define what is torture, an idea that not long ago would have seemed absurd, and need to pick our poisons among several forms of radical fundamentalisms, each one not only a threat to the other but a threat to humanity itself. From Edgar Allen Poe to Abu Ghraib, this is a fascinating and worrisome story, impeccably researched and compellingly written.
In Soldier Snapshots Jay Mechling explores how American men socially construct their performance of masculinity in everyday life in all-male friendship groups during their service in the military. The evidence Mechling analyzes is a collection of vernacular photographs, “snapshots,” of and by American soldiers, sailors, Marines, and aviators. Since almost all of the snapshots are photographs taken of men by other men, this book offers a unique view into the social construction, performance, and repair of American masculinity. Mechling guides the reader from the snapshots to ideas about the everyday lives of male soldiers to ideas about the lives of men in groups to ideas about American culture. In his introduction Mechling offers his thoughts about how to undertake the interdisciplinary study of American culture; he draws from history, folklore, anthropology, sociology, rhetoric, psychology, gender and sexuality studies, ethnic studies, popular culture studies, and visual studies to reveal the intricacies of how men use their folk practices in an all-male group to manage the paradoxes of their friendship and comradeship under sometimes stressful conditions. Soldier Snapshots begins with a brief history of war photography and establishes the nature of vernacular photography: the snapshot. This is followed by a jargon-free discussion of the key ideas about masculinity and the vernacular practices of men in groups, exploring male friendship, the important role of play in men’s relationships, and the ways “animal buddies” adopted by male friendship groups actually tell us even more about male friendship and issues of trust. In the final section Mechling’s careful analysis reveals how the men employ different folk practices—including rough-and-tumble playfighting, building human pyramids, bathing naked in public, cross-dressing, hazing, and gallows humor—in order to manage their relationships. Regardless of the man’s sexual orientation and sexual identity, the strong heterosexual norm in the military means that the men must find ways to understand and even enact or perform their feelings of bonding while still defining those feelings and acts as heterosexual.
Dogs are as ubiquitous in American culture as white picket fences and apple pie, embracing all the meanings of wholesome domestic life—family, fidelity, comfort, protection, nurturance, and love—as well as symbolizing some of the less palatable connotations of home and family, including domination, subservience, and violence. In Picturing Dogs, Seeing Ourselves, Ann-Janine Morey presents a collection of antique photographs of dogs and their owners in order to investigate the meanings associated with the canine body. Included are reproductions of 115 postcards, cabinet cards, and cartes de visite that feature dogs in family and childhood snapshots, images of hunting, posed studio portraits, and many other settings between 1860 and 1950. These photographs offer poignant testimony to the American romance with dogs and show how the dog has become part of cultural expressions of race, class, and gender. Animal studies scholars have long argued that our representation of animals in print and in the visual arts has a profound connection to our lived cultural identity. Other books have documented the depiction of dogs in art and photography, but few have reached beyond the subject’s obvious appeal. Picturing Dogs, Seeing Ourselves draws on animal, visual, and literary studies to present an original and richly contextualized visual history of the relationship between Americans and their dogs. Though the personal stories behind these everyday photographs may be lost to us, their cultural significance is not.
Campt explores the affective resonances of two archives of Black European photographs for those pictured, their families, and the community. Image Matters looks at photograph collections of four Black German families taken between 1900 and the end of World War II and a set of portraits of Afro-Caribbean migrants to Britain taken at a photographic studio in Birmingham between 1948 and 1960.
In recent years, anthropologists, historians, and others have been drawn to study the profuse and creative usages of digital media by religious movements. At the same time, scholars of Christian Africa have long been concerned with the history of textual culture, the politics of Bible translation, and the status of the vernacular in Christianity. Students of Islam in Africa have similarly examined politics of knowledge, the transmission of learning in written form, and the influence of new media. Until now, however, these arenas—Christianity and Islam, digital media and “old” media—have been studied separately. Religion, Media, and Marginality in Modern Africa is one of the first volumes to put new media and old media into significant conversation with one another, and also offers a rare comparison between Christianity and Islam in Africa. The contributors find many previously unacknowledged correspondences among different media and between the two faiths. In the process they challenge the technological determinism—the notion that certain types of media generate particular forms of religious expression—that haunts many studies. In evaluating how media usage and religious commitment intersect in the social, cultural, and political landscapes of modern Africa, this collection will contribute to the development of new paradigms for media and religious studies. Contributors: Heike Behrend, Andre Chappatte, Maria Frahm-Arp, David Gordon, Liz Gunner, Bruce S. Hall, Sean Hanretta, Jorg Haustein, Katrien Pype, and Asonzeh Ukah.
Whither the life of online images?