Studies in Visual Communication Volume 4 Issue 2 Winter 1977 Article 5 1977 Realism, Photography and Journalistic Objectivity in 19th Century America Dan Schiller Recommended Citation Schiller, D. (1977). Realism, Photography and Journalistic Objectivity in 19th Century America. 4 (2), 86-98. Retrieved from https://repository.upenn.edu/svc/vol4/iss2/5 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/svc/vol4/iss2/5 For more information, please contact
[email protected]. Realism, Photography and Journalistic Objectivity in 19th Century America This contents is available in Studies in Visual Communication: https://repository.upenn.edu/svc/vol4/iss2/5 the whole field of 19th century painterly and literary art. The key assumption of photographic realism-that precisely accurate and complete copies of reality could be produced from symbolic materials-was rather freely translated across numerous visual and verbal codes, and not only within the REALISM, PHOTOGRAPHY accepted realm of art. After first explicating the general sig AND JOURNALISTIC OBJECTIVITY nificance of this increasingly ubiquitous assumption, I will IN 19th CENTURY AMERICA tentatively explore some of its consequences for literature and for journalism. DAN SCHILLER A JOUST WITH "REALISM" When we commend a work of art as being "realistic," we Hostile critics often choose to equate realism per se with commonly mean that it succeeds at faithfully copying events the demonstration of a few apparently basic qualities in or conditions in the "real" world. How can we believe that works of art. Foremost among these is "objectivity." Wellek pictures and writings can be made so as to copy, truly and (1963 :253), for example, defines realism as "the objective accurately, a "natural" reality? The search for an answer to representation of contemporary social reality." Hemmings this deceptively simple question motivates the present essay.