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Photographs by Hikaru C. IwasakiForeword by the Honorable Norman Y. MinetaInJapanese American Resettlement through the Lens, Lane Ryo Hirabayashi gathers a unique collection of photographs by War Relocation Authority photographer Hikaru Iwasaki, the only full-time WRA photographer from the period still living. With substantive focus on resettlement - and in particular Iwasaki's photos of Japanese Americans following their release from WRA camps from 1943 to 1945 - Hirabayashi explores the WRA's use of photography in its mission not only to encourage \"loyal\" Japanese Americans to return to society at large as quickly as possible but also to convince Euro-Americans this was safe and advantageous. Hirabayashi also assesses the relative success of the WRA project, as well as the multiple uses of the photographs over time, first by the WRA and then by students, scholars, and community members in the present day. Although the photos have been used to illustrate a number of publications, this book is the first sustained treatment addressing questions directly related to official WRA photographs. How and under what conditions were they taken? Where were they developed, selected, and stored? How were they used during the 1940s? What impact did they have during and following the war? By focusing on the WRA's Photographic Section,Japanese American Resettlement through the Lensmakes a unique contribution to the body of literature on Japanese Americans during World War II.

Historically the bodies of civilians are the most damaged by the increasing mechanization and derealization of warfare, but this is not reflected in the representation of violence in popular media. In War Without Bodies , author Martin Danahay argues that the media in the United States in particular constructs a \"war without bodies\" in which neither the corpses of soldiers or civilians are shown. War Without Bodies traces the intertwining of new communications technologies and war from the Crimean War, when Roger Fenton took the first photographs of the British army and William Howard Russell used the telegraph to transmit his dispatches, to the first of three \"video wars\" in the Gulf region in 1990-91, within the context of a war culture that made the costs of organized violence acceptable to a wider public. New modes of communication have paradoxically not made more war \"real\" but made it more ubiquitous and at the same time unremarkable as bodies are erased from coverage. Media such as photography and instantaneous video initially seemed to promise more realism but were assimilated into existing conventions that implicitly justified war. These new representations of war were framed in a way that erased the human cost of violence and replaced it with images that defused opposition to warfare. Analyzing poetry, photographs, video and video games the book illustrates the ways in which war was framed in these different historical contexts. It examines the cultural assumptions that influenced the reception of images of war and discusses how death and damage to bodies was made acceptable to the public. War Without Bodies aims to heighten awareness of how acceptance of war is coded into texts and how active resistance to such hidden messages can help prevent future unnecessary wars.

In Japanese American Resettlement through the Lens, Lane Ryo Hirabayashi gathers a unique collection of photographs by War Relocation Authority photographer Hikaru Iwasaki, the only full-time WRA photographer from the period still living. With substantive focus on resettlement - and in particular Iwasaki's photos of Japanese Americans following their release from WRA camps from 1943 to 1945 - Hirabayashi explores the WRA's use of photography in its mission not only to encourage \"loyal\" Japanese Americans to return to society at large as quickly as possible but also to convince Euro-Americans this was safe and advantageous. Hirabayashi also assesses the relative success of the WRA project, as well as the multiple uses of the photographs over time, first by the WRA and then by students, scholars, and community members in the present day. Although the photos have been used to illustrate a number of publications, this book is the first sustained treatment addressing questions directly related to official WRA photographs. How and under what conditions were they taken? Where were they developed, selected, and stored? How were they used during the 1940s? What impact did they have during and following the war? By focusing on the WRA's Photographic Section, Japanese American Resettlement through the Lens makes a unique contribution to the body of literature on Japanese Americans during World War II.

A deeply divided border state, heir to the \"Bleeding Kansas\" era, Missouri became the third most fought-over state in the war, following Virginia and Tennessee. Rich in resources and manpower, critical politically to both the Union and the Confederacy, it was the scene of conventional battles, river warfare, and cavalry raids. It saw the first combat by organized units of Native Americans and African Americans. It was also marked by guerrilla warfare of unparalleled viciousness. This volume, the ninth in the series, includes hundreds of photographs, many of them never before published. The authors provide text and commentary, organizing the photographs into chapters covering the origins of the war, its conventional and guerrilla phases, the war on the rivers, medicine (Sweeny's medical knowledge adds a great deal to this chapter and expands our knowledge of its practice in the west), the experiences of Missourians who served out of state, and the process of reunion in the postwar years.

The emergence of newly independent African nations onto the world stage in the mid-twentieth century precipitated a contest for influence among Cold War superpowers, leading the United States to mount an international campaign of photographic diplomacy underpinned by a faith in the medium's capacity to cross cultural boundaries. However, the increasing global visibility of racial injustice undermined US claims that the nation had transcended colonial racism. Drawing on extensive research in the archives of the United States Information Agency (USIA) and concentrating on the period from the mid-1950s through to the late 1960s, Darren Newbury traces the role of photography in the United States' appeal to Africa. Newbury shows how photographing the political, cultural, and educational visits of Africans to the United States provided a space for the imagination of international cooperation and friendship; how the United States presented the civil rights struggle as an example of democracy in action; and how it pictured a world of integration and racial coexistence. Cold War Photographic Diplomacy chronicles this careful scripting of images and picture stories and details the cultural and pedagogical work that photography was expected to perform as it was inserted into the visual culture of African cities through magazines, posters, pamphlets, and window displays. Locating photography at the intersection of African decolonization, racial conflict in the United States, and the cultural Cold War, this study will especially appeal to students and scholars of the history of photography, American studies, and Africana studies.

Martha Langford and John Langford examine their father's apparently innocuous photographic experience, revealing the complexity of both the images and their creator. An intelligent and personal look at the ways that the historical and the private are represented and remembered, A Cold War Tourist and His Camera stages the family slide show as you've never seen it before.

In the late-19th century, with the American Civil War in full swing, millions of Americans relied on the written word, illustrations and engravings for news about the conflict; until the groundbreaking work of New York photographer Mathew Brady, brought the harsh realities of war home for the very first time.

In May and June 1943, a photographer with the American Office of War Information (OWI) photographed West African men who he identified as ‘witch doctors’ engaging in masquerade dances dedicated to water spirits. However, rather than the typical aquatic-themed headgear, these ‘witch doctors’ wore model planes – reproductions of British, French, and American aircraft. The photographs and their captions constructed a narrative of a ‘new ju-ju’, in which an indigenous community incorporated model aircraft into their traditional masquerades in order to reflect upon and support the power of Allied armies, which had supplanted their previous notions of spiritual power. However, despite their absurd and over-contrived captions, these photos were never published, demonstrating that the narrative of ‘new ju-ju’ was too complex to fit within the standard propagandistic narrative of widespread Allied support. This fascinating story provides insight into how indigenous communities in Nigeria coped with massive societal changes throughout the Second World War period, reveals the constructed narratives of American wartime propaganda, and, overall, demonstrates the uncontrollable nature of photographs as sources that insist upon revealing distinctive forms of agency and telling their own stories.

The Earthrise era comprises several important developments. Hear the word \"Earth,\" and the images likely to flash through the mind are descendants of two views afforded by the Apollo missions. One, a photograph called \"Earthrise,\" shows Earth half-cloaked in shadow above a lifeless moonscape. A second, known as \"Blue Marble,\" reveals the planet suspended alone in the void. Such views of Earth, it has been argued, prompted a revolution in the global imagination. Here, Lazier looks at whether the Apollo images did indeed prompt such a revolution. He supplements accounts of the Cold War origins and environmentalist afterlives of the \"Earthrise era\" with a history of philosophical responses to the earliest images of Earth from space. Moreover, he focuses on a group of thinkers troubled by the displacement of local, earthbound horizons with horizons that are planetary in scope and scale.