Explore the vast range of titles available.

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.

Most view the relationship of Jews to the Soviet Union through the lens of repression and silence. Focusing on an elite group of two dozen Soviet-Jewish photographers, including Arkady Shaykhet, Alexander Grinberg, Mark Markov-Grinberg, Evgenii Khaldei, Dmitrii Baltermants, and Max Alpert,Through Soviet Jewish Eyespresents a different picture. These artists participated in a social project they believed in and with which they were emotionally and intellectually invested-they were charged by the Stalinist state to tell the visual story of the unprecedented horror we now call the Holocaust.These wartime photographers were the first liberators to bear witness with cameras to Nazi atrocities, three years before Americans arrived at Buchenwald and Dachau. In this passionate work, David Shneer tells their stories and highlights their work through their very own images-he has amassed never-before-published photographs from families, collectors, and private archives.Through Soviet Jewish Eyeshelps us understand why so many Jews flocked to Soviet photography; what their lives and work looked like during the rise of Stalinism, during and then after the war; and why Jews were the ones charged with documenting the Soviet experiment and then its near destruction at the hands of the Nazis.

By the time the First World War broke out in 1914, photography had become affordable and popular. Many of the 100,000 New Zealanders who went overseas to fight carried cameras with them, determined to capture their part in the ‘great adventure’. And soldiers were not the only ones to take photographs: cameras were also used by officials, journalists and medical staff. The Face of War is the first book to examine the photographs, many previously unknown, of New Zealand’s First World War experience, tracing a sometimes shocking, often moving visual history through soldiers’ snapshots, keepsake portraits, battlefield panoramas, photographic medical records and rolls of honour. Sandy Callister discusses how photography was used to capture and narrate, memorialise and observe, romanticise and bear witness to the experiences of New Zealanders at home and overseas. Her study is the first to argue for the importance of New Zealand photography to the history of war, but also examines in depth the contradictions of this photography: as a site of remembrance and forgetting, of nation and sacrifice, of mourning and mythology, of subjectivity and identity. Both authoritative and insightful, The Face of War superbly illuminates an often overlooked aspect of New Zealand’s First World War history.

This paper is an ethnographical exploration of the growing importance of photographic technologies within the contemporary political theater of Israel’s military occupation studied from the vantage of Israeli actors and institutions. My ethnography focuses on the Israeli military’s growing investment in cameras as public relations technologies and how Israeli human rights groups are employing camera technologies against the military in unprecedented ways and degrees. Both institutions are now laboring to translate their work into visual registers, recognizing that political claims making depends on networked cameras and viral images as never before. My analysis focuses on what I term the “analytics of lapse”—instances in which photographic technologies, images, and associated infrastructures break down, lag, or otherwise fail to deliver on their ostensible communicative promise. Lapse provides a mean of thinking against cyber-utopian theories of new media even as it provides a way of unsettling enduring Israeli colonial logics of technological modernity.

Wartime Kissis a personal meditation on the haunting power of American photographs and films from World War II and the later 1940s. Starting with a stunning reinterpretation of one of the most famous photos of all time, Alfred Eisenstaedt's image of a sailor kissing a nurse in Times Square on V-J Day, Alexander Nemerov goes on to examine an array of mostly forgotten images and movie episodes--from a photo of Jimmy Stewart and Olivia de Havilland lying on a picnic blanket in the Santa Barbara hills to scenes from such films asTwelve O'Clock HighandHold Back the Dawn. Erotically charged and bearing traces of trauma even when they seem far removed from the war, these photos and scenes seem to hold out the promise of a palpable and emotional connection to those years. Through a series of fascinating stories, Nemerov reveals the surprising background of these bits of film and discovers unexpected connections between the war and Hollywood, from an obsession with aviation to Anne Frank's love of the movies. Beautifully written and illustrated,Wartime Kissvividly evokes a world in which Margaret Bourke-White could follow a heroic assignment photographing a B-17 bombing mission over Tunis with a job in Hollywood documenting the filming of a war movie. Ultimately this is a book about history as a sensuous experience, a work as mysterious, indescribable, and affecting as a novel by W. G. Sebald.

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.

Mogadishu, 1993. Paul is a Canadian photojournalist who is about to take a picture that will win him the Pulitzer Prize. Princeton, the present day, Dan is an American writer who is struggling to finish his play about ghosts. Both men live worlds apart but a chance encounter over the airwaves sparks an extraordinary friendship that sees them journey from some of the most dangerous places on earth to the depths of the human soul. Flying from Kabul to the Canadian High Arctic, The Body of an American sees two actors jump between more than thirty roles in an exhilarating new form of documentary drama. It urgently places these two men's battles - both public and private - against a backdrop of some of the world's most iconic images of war.

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.