2016, ISBN: 022633726X

[EAN: 9780226337265], Neubuch, [PU: University of Chicago Press, Chicago, IL], Hardcover. In 2005, photographer Chris Hondros captured a striking image of a young Iraqi girl in the afterm… Mehr…

[EAN: 9780226337265], Neubuch, [PU: University of Chicago Press, Chicago, IL], Hardcover. In 2005, photographer Chris Hondros captured a striking image of a young Iraqi girl in the aftermath of the killing of her parents by American soldiers. The shot stunned the world and has since become iconic--comparable to the infamous photo by Nick Ut of a Vietnamese girl running from a napalm attack. Both images serve as microcosms for their respective conflicts. Afterimages looks at the work of war photographers like Hondros and Ut to understand how photojournalism interacts with the American worldview. Liam Kennedy here maps the evolving relations between the American way of war and photographic coverage of it. Organized in its first section around key US military actions over the last fifty years, the book then moves on to examine how photographers engaged with these conflicts on wider ethical and political grounds, and finally on to the genre of photojournalism itself. Illustrated throughout with examples of the photographs being considered, Afterimages argues that photographs are important means for critical reflection on war, violence, and human rights. It goes on to analyze the high ethical, sociopolitical, and legalistic value we place on the still image's ability to bear witness and stimulate action. Liam Kennedy here takes as his focus the ways in which selected photographers have sought to frame the activities and effects of American foreign policy, often with a critical perspective, and how their work engages the dynamics of power and knowledge that attend the American worldview. What is at issue in this book is understanding relations between the geopolitical conditions of visuality and the particulars of the image. Conditions of visuality, for Kennedy, are the ideologies that determine certain ways of seeing, that support actions and representations which establish (in)visibilities and which police the relationship between seeing and believing the American worldview. The individual photographers whose work Kennedy so insightfully dissects are those who have pushed the boundaries of photographic practice and who reflect critically on the contexts and scenery of war: Larry Burrows and Philip Jones Griffiths in Vietnam, Gilles Peress covering the Iranian Revolution, Susan Meiselas in El Salvador and Nicaragua, Ron Haviv and Gary Knight in the Balkans, Ashley Gilbertson and Chris Hondros in Iraq, and Tim Hetherington and Lynsey Addario in Afghanistan. These individuals expanded the conception and technical repertoire of photojournalism, receiving critical acclaim, provoking public and professional controversy, and often incurring great personal cost to themselves. Afterimages presents us with a revisionary understanding of the art of conflict photography. The images are often searing they sometimes demonize and dehumanize the enemy, but also humanize friend or victim: a focus on the human roots the range of feeling in such imagery, from horror to pity." Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability., Books<

2016, ISBN: 022633726X

[EAN: 9780226337265], Neubuch, [PU: University of Chicago Press, Chicago, IL], Hardcover. In 2005, photographer Chris Hondros captured a striking image of a young Iraqi girl in the afterm… Mehr…

[EAN: 9780226337265], Neubuch, [PU: University of Chicago Press, Chicago, IL], Hardcover. In 2005, photographer Chris Hondros captured a striking image of a young Iraqi girl in the aftermath of the killing of her parents by American soldiers. The shot stunned the world and has since become iconic--comparable to the infamous photo by Nick Ut of a Vietnamese girl running from a napalm attack. Both images serve as microcosms for their respective conflicts. Afterimages looks at the work of war photographers like Hondros and Ut to understand how photojournalism interacts with the American worldview. Liam Kennedy here maps the evolving relations between the American way of war and photographic coverage of it. Organized in its first section around key US military actions over the last fifty years, the book then moves on to examine how photographers engaged with these conflicts on wider ethical and political grounds, and finally on to the genre of photojournalism itself. Illustrated throughout with examples of the photographs being considered, Afterimages argues that photographs are important means for critical reflection on war, violence, and human rights. It goes on to analyze the high ethical, sociopolitical, and legalistic value we place on the still image's ability to bear witness and stimulate action. Liam Kennedy here takes as his focus the ways in which selected photographers have sought to frame the activities and effects of American foreign policy, often with a critical perspective, and how their work engages the dynamics of power and knowledge that attend the American worldview. What is at issue in this book is understanding relations between the geopolitical conditions of visuality and the particulars of the image. Conditions of visuality, for Kennedy, are the ideologies that determine certain ways of seeing, that support actions and representations which establish (in)visibilities and which police the relationship between seeing and believing the American worldview. The individual photographers whose work Kennedy so insightfully dissects are those who have pushed the boundaries of photographic practice and who reflect critically on the contexts and scenery of war: Larry Burrows and Philip Jones Griffiths in Vietnam, Gilles Peress covering the Iranian Revolution, Susan Meiselas in El Salvador and Nicaragua, Ron Haviv and Gary Knight in the Balkans, Ashley Gilbertson and Chris Hondros in Iraq, and Tim Hetherington and Lynsey Addario in Afghanistan. These individuals expanded the conception and technical repertoire of photojournalism, receiving critical acclaim, provoking public and professional controversy, and often incurring great personal cost to themselves. Afterimages presents us with a revisionary understanding of the art of conflict photography. The images are often searing they sometimes demonize and dehumanize the enemy, but also humanize friend or victim: a focus on the human roots the range of feeling in such imagery, from horror to pity." Shipping may be from multiple locations in the US or from the UK, depending on stock availability., Books<

2016, ISBN: 022633726X

[EAN: 9780226337265], Neubuch, [PU: The University of Chicago Press, Chicago, IL], Hardcover. In 2005, photographer Chris Hondros captured a striking image of a young Iraqi girl in the af… Mehr…

[EAN: 9780226337265], Neubuch, [PU: The University of Chicago Press, Chicago, IL], Hardcover. In 2005, photographer Chris Hondros captured a striking image of a young Iraqi girl in the aftermath of the killing of her parents by American soldiers. The shot stunned the world and has since become iconiccomparable to the infamous photo by Nick Ut of a Vietnamese girl running from a napalm attack. Both images serve as microcosms for their respective conflicts. Afterimages looks at the work of war photographers like Hondros and Ut to understand how photojournalism interacts with the American worldview. Liam Kennedy here maps the evolving relations between the American way of war and photographic coverage of it. Organized in its first section around key US military actions over the last fifty years, the book then moves on to examine how photographers engaged with these conflicts on wider ethical and political grounds, and finally on to the genre of photojournalism itself. Illustrated throughout with examples of the photographs being considered, Afterimages argues that photographs are important means for critical reflection on war, violence, and human rights. It goes on to analyze the high ethical, sociopolitical, and legalistic value we place on the still images ability to bear witness and stimulate action. Liam Kennedy here takes as his focus the ways in which selected photographers have sought to frame the activities and effects of American foreign policy, often with a critical perspective, and how their work engages the dynamics of power and knowledge that attend the American worldview. What is at issue in this book is understanding relations between the geopolitical conditions of visuality and the particulars of the image. Conditions of visuality, for Kennedy, are the ideologies that determine certain ways of seeing, that support actions and representations which establish (in)visibilities and which police the relationship between seeing and believing the American worldview. The individual photographers whose work Kennedy so insightfully dissects are those who have pushed the boundaries of photographic practice and who reflect critically on the contexts and scenery of war: Larry Burrows and Philip Jones Griffiths in Vietnam, Gilles Peress covering the Iranian Revolution, Susan Meiselas in El Salvador and Nicaragua, Ron Haviv and Gary Knight in the Balkans, Ashley Gilbertson and Chris Hondros in Iraq, and Tim Hetherington and Lynsey Addario in Afghanistan. These individuals expanded the conception and technical repertoire of photojournalism, receiving critical acclaim, provoking public and professional controversy, and often incurring great personal cost to themselves. Afterimages presents us with a revisionary understanding of the art of conflict photography. The images are often searing they sometimes demonize and dehumanize the enemy, but also humanize friend or victim: a focus on the human roots the range of feeling in such imagery, from horror to pity." Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability., Books<

2016, ISBN: 022633726X

[EAN: 9780226337265], Neubuch, [PU: The University of Chicago Press, Chicago, IL], Hardcover. In 2005, photographer Chris Hondros captured a striking image of a young Iraqi girl in the af… Mehr…

[EAN: 9780226337265], Neubuch, [PU: The University of Chicago Press, Chicago, IL], Hardcover. In 2005, photographer Chris Hondros captured a striking image of a young Iraqi girl in the aftermath of the killing of her parents by American soldiers. The shot stunned the world and has since become iconiccomparable to the infamous photo by Nick Ut of a Vietnamese girl running from a napalm attack. Both images serve as microcosms for their respective conflicts. Afterimages looks at the work of war photographers like Hondros and Ut to understand how photojournalism interacts with the American worldview. Liam Kennedy here maps the evolving relations between the American way of war and photographic coverage of it. Organized in its first section around key US military actions over the last fifty years, the book then moves on to examine how photographers engaged with these conflicts on wider ethical and political grounds, and finally on to the genre of photojournalism itself. Illustrated throughout with examples of the photographs being considered, Afterimages argues that photographs are important means for critical reflection on war, violence, and human rights. It goes on to analyze the high ethical, sociopolitical, and legalistic value we place on the still images ability to bear witness and stimulate action. Liam Kennedy here takes as his focus the ways in which selected photographers have sought to frame the activities and effects of American foreign policy, often with a critical perspective, and how their work engages the dynamics of power and knowledge that attend the American worldview. What is at issue in this book is understanding relations between the geopolitical conditions of visuality and the particulars of the image. Conditions of visuality, for Kennedy, are the ideologies that determine certain ways of seeing, that support actions and representations which establish (in)visibilities and which police the relationship between seeing and believing the American worldview. The individual photographers whose work Kennedy so insightfully dissects are those who have pushed the boundaries of photographic practice and who reflect critically on the contexts and scenery of war: Larry Burrows and Philip Jones Griffiths in Vietnam, Gilles Peress covering the Iranian Revolution, Susan Meiselas in El Salvador and Nicaragua, Ron Haviv and Gary Knight in the Balkans, Ashley Gilbertson and Chris Hondros in Iraq, and Tim Hetherington and Lynsey Addario in Afghanistan. These individuals expanded the conception and technical repertoire of photojournalism, receiving critical acclaim, provoking public and professional controversy, and often incurring great personal cost to themselves. Afterimages presents us with a revisionary understanding of the art of conflict photography. The images are often searing they sometimes demonize and dehumanize the enemy, but also humanize friend or victim: a focus on the human roots the range of feeling in such imagery, from horror to pity." Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability., Books<