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Author : Anne Tucker Publisher : Museum of Fine Arts (Houston) Page : 0 pages File Size : 23,76 MB Release : 2012 Category : Photography, Artistic ISBN : 9780300177381
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 lubok--a broadside or poster--played an important role in Russia's cultural history. Evolving as a medium for communication with a largely illiterate population, the popular prints were adapted to express political propaganda. Stephen Norris examines the use of such prints to stir patriotic fervor during times of war, from Napoleon's failed attempt at conquering Russia to Hitler's invasion. Norris shows how visual images of patriotism and expressions of the Russian spirit changed over time, yet remained similar. The lubok produced during Russia's modern wars consistently featured the same key elements: the Russian peasant, the Cossack, and a representation of "the Russian spirit." When Russia was victorious, occasionally the tsar figured into the imagery; but by the beginning of the 20th century, ethnic identity had replaced dynastic representations of Russian nationhood. After the Revolutions of 1917, Bolshevik and Soviet leaders appropriated the traditional elements of the wartime lubok to promote their vision of the new socialist state. The political power of lubok imagery did not end with the Bolsheviks' adaptations. During World War II, political posters similar to those of the tsarist era reemerged to express and to reinforce Russia's culture of patriotism and strength. Amply illustrated, A War of Images is the first comprehensive study of how popular prints helped to construct national identity in Russia over a period of more than a century. Readers interested in Russian art, history, and culture will find its insights intriguing.
Author : Michèle Martin Publisher : University of Toronto Press Page : 313 pages File Size : 16,50 MB Release : 2006-01-01 Category : Social Science ISBN : 0802037577
Using the press coverage of the Franco-Prussian war as a starting point, Michèle Martin's Images at War examines nineteenth-century illustrated periodicals published in France, Germany, England, and Canada (with references also to Italy and the United States), and argues that periodicals during this period worked to reinforce particular national identities. Images in periodicals played an essential role in how the concept of nationalism was expressed and reproduced, usually by pitting cultures and countries against one another. These illustrated periodicals helped to shape nations where nations had not previously existed - such as with Germany, Italy, and Canada, which were only just coming into their own as states. In war, Martin observes, these documents also represented a non-verbal method of communicating emotionally trying, politically challenging, and oftentimes contradictory information to the public, literate and non-literate alike. The history of nineteenth-century illustrated papers underscores their legitimacy as a form of journalism. They were more than a commodity produced for profit; they offered serious reflection and commentary on the times designed by editors to have specific effects on the readers. Images at War is a much-needed study of this early news medium and its part in the construction of nationalism in the midst of war.
As warriors, freedom fighters and victims, as mothers, wives and prostitutes, and as creators and members of peace movements, women are inevitably caught up in the net of war. Yet women's participation in warfare and peace campaigns has often been underestimated or ignored. Images of Women in Peace and War explores women's relationships to war, peace, and revolution, from the Amazons, Inka and Boadicea, to women soldiers in South Africa, Mau Mau freedom fighters and the protestors at Greenham Common. The contributors consider not only the reality of women's participation but also look at how their actions have been perceived and represented across cultures and through history. They examine how sexual imagery is constructed, how it is used to delineate women's relation to warfare and how these images have sometimes been subverted in order to challenge the status quo. The book raises important questions about whether women have a special prerogative to promote peace and considers whether the experience of motherhood leads to a distinctive women's position on war. The authors find that their analyses lead them to deal with arguments on the basic nature of the sexes and to reevaluate our concepts of "peace," "war," and "gender."
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.
DIV“If colonial America was the melting pot of modernity, it was because it was also a fabulous laboratory of images. . . . Just as much as speech and writing, the image can be a vehicle for all sorts of power and resistance.” So writes Serge Gruzinski in the introduction to Images at War, his striking reinterpretation of the Spanish colonization of Mexico. Concentrating on the political meaning of the baroque image and its function within a multicultural society, Gruzinski compares its ubiquity in Mexico to our modern fascination with images and their meaning. Although the baroque image played a decisive role in many arenas, especially that of conquest and New World colonization, its powerful resonance in the sphere of religion is a focal point of Gruzinski’s study. In his analysis of how images conveyed meaning across linguistic barriers, he uncovers recurring themes of false images, less-than-perfect replicas, the uprooting of peoples and cultural memories, and the violence of iconoclastic destruction. He shows how various ethnic groups—Indians, blacks, Europeans—left their distinct marks on images of colonialism and religion, coopting them into expressions of identity or instruments of rebellion. As Gruzinski’s story unfolds, he tells of Aztec idols, the cult of the Virgin of Guadalupe, conquistadors, Franciscans, and neoclassical attempts to repress the baroque. In the final chapter he discusses the political and religious implications of contemporary imagery—such as that in Mexican soap operas—and speculates about the future of images in Latin America. Originally written in French, this work makes available to an English audience a seminal study of Mexico and the role of the image in the New World. /div
The most comprehensive photo history of the Spanish-American War to date. The biographies of generals, admirals and the common solders are recorded. Monuments and other places of interest are examined. Over 700 photographs.