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Shares excerpts from the personal diaries and photographs of British soldiers to depict the daily life of a Tommy in the trenches between 1914 and 1918.
What we know of war is always mediated knowledge and feeling. We need lenses to filter out some of its blinding, terrifying light. These lenses are not fixed; they change over time, and Jay Winter's panoramic history of war and memory offers an unprecedented study of transformations in our imaginings of war, from 1914 to the present. He reveals the ways in which different creative arts have framed our meditations on war, from painting and sculpture to photography, film and poetry, and ultimately to silence, as a language of memory in its own right. He shows how these highly mediated images of war, in turn, circulate through language to constitute our 'cultural memory' of war. This is a major contribution to our understanding of the diverse ways in which men and women have wrestled with the intractable task of conveying what twentieth-century wars meant to them and mean to us.
A full biography of the mountaineer whose remains were recovered on Mount Everest in 1999. The text portrays this heroic climber as a man of broad interests, immense charm and devotion to family and friends.
“I am on night duty ... on what is supposed to be the ‘hopeless ward’ so you can imagine, or try to, just what I am doing. I know you cannot really have the faintest idea ...” In Sister Soldiers of the Great War, award-winning author Cynthia Toman recovers the long-lost history of Canada’s first women soldiers – nursing sisters who enlisted as officers with the Canadian Army Medical Corps. These experienced professional nurses left their friends, families, and jobs to enlist in the army. Granted relative rank and equal pay to men, they had a mandate to salvage as many sick and wounded men as possible for return to the front lines. Nothing prepared them for poor living conditions, the scale of casualties, or the type of wounds they encountered, but their letters and diaries reveal that they were determined to soldier on under all circumstances while still “living as well as possible.”
Snapshots taken by American soldiers of Iraqi prisoners stripped naked, humiliated and tortured shocked the world in 2004 and more have followed from the conflict in Afghanistan, but whether the public have been horrified by the soldiers' conduct or the fact they have taken pictures has not been clear. In fact, as this remarkable book reveals and relates, soldiers have taken photographs of war and its atrocities for more than 100 years. But their pictures are private, intended mainly for the soldiers themselves, as mementoes or as attempts to make sense of the chaos, brutality and boredom of war. They can be gruesome or sociable, shocking or mundane and they are seldom regarded as serious contributions to a visual culture of war, which since 1939 has been dominated by professional war photography. But with the 21st-century shift to simple digital photography, transmission by the internet available to all, and a new 'citizen journalism', soldiers' pictures are acquiring a new resonance."Private Pictures" traces this unacknowledged genre of photography from the origins of popular photography in the Boer War through to the present day; it discusses how the images have been used and it asks: what effect might the wider appreciation of soldiers' pictures have on the popular perception of war?
Thayer Soule couldn't believe his orders. As a junior officer with no military training or indoctrination and less than ten weeks of active duty behind him, he had been assigned to be photographic officer for the First Marine Division. The Corps had never had a photographic division before, much less a field photographic unit. But Soule accepted the challenge, created the unit from scratch, established policies for photography, and led his men into combat. Soule and his unit produced films and photos of training, combat action pictures, and later, terrain studies and photographs for intelligence purposes. Though he had never heard of a photo-litho set, he was in charge of using it for map production, which would prove vital to the division. Shooting the Pacific War is based on Soule's detailed wartime journals. Soule was in the unique position to interact with men at all levels of the military, and he provides intriguing closeups of generals, admirals, sergeants, and privates -everyone he met and worked with along the way. Though he witnessed the horror of war firsthand, he also writes of the vitality and intense comradeship that he and his fellow Marines experienced. Soule recounts the heat of battle as well as the intense training before and rebuilding after each campaign. He saw New Zealand in the desperate days of 1942. His division was rebuilt in Australia following Guadalcanal. After a stint back in Quantico training more combat photographers, he went to Guam and then to the crucible of Iwo Jima. At war's end he was serving as Photographic Officer, Fleet Marine Force Pacific, at Pearl Harbor.
A picture-rich field guide to American photography, from daguerreotype to digital. We are all photographers now, with camera phones in hand and social media accounts at the ready. And we know which pictures we like. But what makes a "good picture"? And how could anyone think those old styles were actually good? Soft-focus yearbook photos from the '80s are now hopelessly—and happily—outdated, as are the low-angle portraits fashionable in the 1940s or the blank stares of the 1840s. From portraits to products, landscapes to food pics, Good Pictures proves that the history of photography is a history of changing styles. In a series of short, engaging essays, Kim Beil uncovers the origins of fifty photographic trends and investigates their original appeal, their decline, and sometimes their reuse by later generations of photographers. Drawing on a wealth of visual material, from vintage how-to manuals to magazine articles for working photographers, this full-color book illustrates the evolution of trends with hundreds of pictures made by amateurs, artists, and commercial photographers alike. Whether for selfies or sepia tones, the rules for good pictures are always shifting, reflecting new ways of thinking about ourselves and our place in the visual world.
For the past fifty years, Marc Riboud has traveled the world recording the harmony of landscapes and the beauty in faces in Angkor, Huang-Shan, Vietnam, Istanbul, India, Bangladesh, New York and China. Riboud captures images of history in the making alongside those of everyday life. From a painter balanced like a dancer on the metal girders of the Eiffel Tower to a young girl facing down a rank of riflemen in protest of the Vietnam war, Riboud's photographs reveal a deep passion for seeing, an intrinsic compassion for the human struggle, and an intense and insatiable desire to understand and to comprehend. While many of his photographs depict the anguish of war, others catch the evanescent delight of a swim in a sun-dappled river or children learning to whistle in a Shanghai street. This retrospective book - which includes Riboud's most famous photographs as well as unpublished vintage prints from Leeds in 1954, from Africa, and from Europe - is the first to span his entire career.