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The Legacy of American Photojournalism in Ken Burns's
Interfaces Image Texte Language 41 | 2019 Images / Memories The Legacy of American Photojournalism in Ken Burns’s Vietnam War Documentary Series Camille Rouquet Electronic version URL: http://journals.openedition.org/interfaces/647 DOI: 10.4000/interfaces.647 ISSN: 2647-6754 Publisher: Université de Bourgogne, Université de Paris, College of the Holy Cross Printed version Date of publication: 21 June 2019 Number of pages: 65-83 ISSN: 1164-6225 Electronic reference Camille Rouquet, “The Legacy of American Photojournalism in Ken Burns’s Vietnam War Documentary Series”, Interfaces [Online], 41 | 2019, Online since 21 June 2019, connection on 07 January 2021. URL: http://journals.openedition.org/interfaces/647 ; DOI: https://doi.org/10.4000/interfaces.647 Les contenus de la revue Interfaces sont mis à disposition selon les termes de la Licence Creative Commons Attribution 4.0 International. THE LEGACY OF AMERICAN PHOTOJOURNALISM IN KEN BURNS’S VIETNAM WAR DOCUMENTARY SERIES Camille Rouquet LARCA/Paris Sciences et Lettres In his review of The Vietnam War, the 18-hour-long documentary series directed by Ken Burns and Lynn Novick released in September 2017, New York Times television critic James Poniewozik wrote: “The Vietnam War” is not Mr. Burns’s most innovative film. Since the war was waged in the TV era, the filmmakers rely less exclusively on the trademark “Ken Burns effect” pans over still images. Since Vietnam was the “living-room war,” played out on the nightly news, this documentary doesn’t show us the fighting with new eyes, the way “The War” did with its unearthed archival World War II footage. -
Aa000343.Pdf (12.91Mb)
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Media Images of War 3(1) 7–41 © the Author(S) 2010 Reprints and Permission: Sagepub
MWC Article Media, War & Conflict Media images of war 3(1) 7–41 © The Author(s) 2010 Reprints and permission: sagepub. co.uk/journalsPermissions.nav DOI: 10.1177/1750635210356813 Michael Griffin http://mwc.sagepub.com Macalester College, Saint Paul, MN, USA Abstract Photographic images of war have been used to accentuate and lend authority to war reporting since the early 20th century, with depictions in 1930s picture magazines of the Spanish Civil War prompting unprecedented expectations for frontline visual coverage. By the 1960s, Vietnam War coverage came to be associated with personal, independent and uncensored reporting and image making, seen as a journalistic ideal by some, and an obstacle to successful government conduct of the war by others. This article considers the idealized ‘myth’ of Vietnam War coverage and how it has influenced print and television photojournalism of American conflicts, skewing expectations of wartime media performance and fostering a consistent pattern of US Government/media collaboration. Upon analysis, pictorial coverage of US wars by the American media not only fails to live up to the myth of Vietnam but tends to be compliant and nationalist. It fails to reflect popular ideals of independent and critical photojournalism, or even the willingness to depict the realities of war. Keywords documentary, Gulf War, Iraq War, journalism, news, photography, photojournalism, television, television news, Vietnam War, visual communication, visual culture, war, war photography Media representations of war are of interest to media scholars for many reasons. First, as reports or images associated with extreme conflict and matters of life and death, they tend to draw intense public attention, and potentially influence public opinion. -
The 100 Greatest Military Photographs
The 100 Greatest Military Photographs From Military Times Publishing Company, insert to the 25 Sept 2000 issues of Army/Navy/AF Times No. 100 Robert Capa WWII No. 99 U.S. Navy Archives Pearl Harbor No. 98 Jacob Harris WWII No. 97 Ray Platnick WWII No. 96 David Turnley Operation Desert Storm No. 95 Charles Kerlee WWII No. 94 Christopher Morris USS Stark No. 93 Philip Jones Griffiths Vietnam, 1968 No. 92 Christopher Morris Persian Gulf War No. 91 U.S. Army Archives WWII, July 1944 No. 90 William Dinwiddle Rough Riders, 1898 No. 89 Brad Markel Andrews AFB, 1991 No. 88 Philadelphia Public Ledger WWI, Nov 1918 No. 87 Adrian Duff WWI, Sep 1918 No. 86 Stanley Tretick South Korea No. 85 U.S. Army Signal Corps Lt Gen George S. Patton No. 84 Robert Jakobsen Ca National Guard, 1940 No. 83 Wayne Miller WWII, 1944 No. 82 U.S. Army Air Force WWII, 1943 No. 81 U.S. Army Archives WWII, 1944 Paris, France No. 80 Peter Turnley “Highway of Doom” Persian Gulf War, 1991 No. 79 Hank Walker South Korea, 1950 No. 78 U.S. Marine Corps Vietnam No. 77 Steve Elfers Operation Desert Storm No. 76 Steve Elfers Operation Desert Storm No. 75 Bruno Barbey Persion Gulf War No. 74 Alexander Gardner Civil War, 1862 No. 73 Jeff Tuttle Operation Desert Shield No. 72 U.S. Army Archives WWII, 1943 Tarawa Atoll No. 71 Alfred Cooperman WWII, 1943 No. 70 Rich Mason Persian Gulf War No. 69 W. Eugene Smith Saipan, WWII No. 68 Larry Burrows Vietnam, 1966 Plane is a Douglas A–1 Skyraider No. -
1 the WARS of DON MCCULLIN Michel Guerrin & Alain Frachon
THE WARS OF DON MCCULLIN Michel Guerrin & Alain Frachon, "Les guerres de Don McCullin" Le Monde, 15 -19 August 2018, various pages. A suite of articles written for the summer edition of Le Monde by Michel Guerrin and Alain Frachon, journalists with Le Monde. DON MCCULLIN, PHOTOGRAPHER 1 | 6 From his poor childhood to his landscapes, passing through Vietnam, for this British master of photography, all is conflict. Le Monde went to visit him and retraces the journey which led him from the gangs of London to his fame. Batcombe, Somerset (UK) - Special correspondents The photographer closes the door of his darkroom – the room of his “ghosts.” It is from there which they emerge, the “ghosts,” from a prefabricated cabin behind the house. They come from four immaculate white bins – developer, bath, fiXer and wash. Beside these are the enlargers, and on shelves there are reams of paper, all of which float in a putrid smell of potassium iodide. “You know that almost everything happens here, in this darkroom,” says Donald McCullin: siXty years of photography of which eighteen were devoted to war. “Soon, I’m going to get rid of all of it. I am at the end of my journey.” It is hard to believe. This man risked a thousand deaths in wars. In 2016 again, he was in Iraq. He was injured in Cambodia, beaten up in prisons in Idi Amin Dada. A price was put on his head in Lebanon. In PalmyrA, Syria, only two years ago, his lung was pierced from a fall. “I paid a good price,” he says, but in half a century of reportage in the form of ‘eXtreme journalism’, McCullin was never K.O. -
IMMF 13 Bios Photogs.Pdf (188
Index of photographers and artists with lot numbers and short biographies Anderson, Christopher (Canada) - Born in British Columbia 1971). He had been shot in the back of the head. in 1970, Christopher Anderson also lived in Texas and Colorado In Lots 61(d), 63 (d), 66(c), 89 and NYC. He now lives in Paris. Anderson is the recipient of the Robert Capa Gold Medal. He regularly produces in depth photographic projects for the world’s most prestigious publica- Barth, Patrick (UK) Patrick Barth studied photography at tions. Honours for his work also include the Visa d’Or in Newport School of Art & Design. Based in London, he has been Perpignan, France and the Kodak Young Photographer of the working since 1995 as a freelance photographer for publications Year Award. Anderson is a contract photographer for the US such as Stern Magazine, the Independent on Sunday Review, News & World Report and a regular contributor to the New Geographical Magazine and others. The photographs in Iraq York Times Magazine. He is a member of the photographers’ were taken on assignment for The Independent on Sunday collective, VII Agency. Review and Getty Images. Lot 100 Lot 106 Arnold, Bruno (Germany) - Bruno Arnold was born in Bendiksen Jonas (Norway) 26, is a Norwegianp photojournal- Ludwigshafen/Rhine (Germany) in 1927. Journalist since 1947, ist whose work regularly appears in magazines world wide from 1955 he became the correspondent and photographer for including GEO, The Sunday Times Magazine, Newsweek, and illustrated magazines Quick, Revue. He covered conflicts and Mother Jones. In 2003 Jonas received the Infinity Award from revolutions in Hungary and Egypt (1956), Congo (1961-1963), The International Centre of Photography (ICP) in New York, as Vietnam, Cambodia, Laos (1963-1973), Biafra (1969-1070), well as a 1st prize in the Pictures Of the Year International Israel (1967, 1973, 1991, 1961 Eichmann Trial). -
The Photographs of Frederick Sommer
DATE: August 24, 2005 FOR IMMEDIATE RELEASE GETTY EXHIBITION SURVEYS RISE OF MODERN PHOTOJOURNALISM WITH NEWS-MAKING IMAGES FROM THE 1940s TO THE 1970s Pictures for the Press At the Getty Center, September 20, 2005–January 22, 2006 LOS ANGELES—Many of the news-making events of the 20th century were documented by photojournalists, whose images helped to tell the stories of events that shaped our world. Pictures for the Press, at the Getty Center, September 20, 2005–January 22, 2006, presents a selection of memorable news images from the 1940s to the 1970s, depicting war, politics, and the civil rights struggle. Featuring many recent acquisitions, the exhibition examines the role of photojournalists in the recording of history and the way pictures are used by the press for making news. Newly acquired works by well-known press photographers like Robert Capa, Larry Burrows, and Charles Moore are included alongside pictures by lesser-known and, in some cases, unidentified makers. Pictures for the Press will feature about 35 photographs drawn from the Getty Museum’s growing collection of photojournalism. Acquired from a variety of sources, including the archives of The New York Times, many of the works on view were originally reproduced in newspapers or magazines and bear the stamps, captions, airbrushing, and worn quality typical of frequently handled archival documents. They include the actual prints used by the New York Times to reproduce images of the atomic explosion over Nagasaki and of the evacuation of Saigon 30 years ago. The exhibition also includes iconic images of the D-Day invasion of Omaha Beach during -more- Page 2 World War II, the assassinations of President Kennedy and Lee Harvey Oswald, and civil rights demonstrations in Birmingham, Alabama during the 1960s. -
Zenger 1991.Pdf
Exporting the First Amendment to the World Item Type text; Pamphlet Authors Arnett, Peter Publisher Department of Journalism, University of Arizona (Tucson, AZ) Rights Copyright © Arizona Board of Regents Download date 09/10/2021 05:44:02 Link to Item http://hdl.handle.net/10150/583030 THE JOHN PETER ZENGER AWARD FOR FREEDOM OF THE PRESS AND THE PEOPLE'S RIGHT TO KNOW 1991 PETER ARNETT EXPORTING THE FIRST AMENDMENT TO THE WORLD BY PETER ARNETT THE UNIVERSITYOF ARIZONA TUCSON ARIZONA THE JOHN PETER ZENGER AWARD FOR FREEDOM OF THE PRESS AND THE PEOPLE'S RIGHT TO KNOW 1991 PETER ARNETT EXPORTING THE FIRST AMENDMENT TO THE WORLD BY PETER ARNETT Tucson, Arizona April 22, 1992 THE UNIVERSrTYOF ARIZONA TUCSON ARIZONA THE JOHN PETER ZENGER AWARD -1991 THE ZENGER AWARD WINNERS 1991 Peter Arnett, Cable News Network 1990 Terry A. Anderson, The Associated Press 1989 Robert C. Maynard, The Oakland Tribune 1988 Jean H. Otto, Editorial Page Editor, The Rocky Mountain News 1987 Eugene L. Roberts, Jr., Executive Editor, The Philadelphia Inquirer 1986 John R. Finnegan, Editor, St. Paul (Minn.) Pioneer Press and Dispatch 1985 Thomas Winship, The Boston Globe 1984 Tom Wicker, Associate Editor, The New York Times 1982 Fred W. Friendly, Edward R. Murrow Professor Emeritus, Columbia Graduate School of Journalism 1981 Paul S. Cousley, Publisher, Alton (Ill.) Telegraph 1980 Walter Cronkite, CBS 1979 Jack C. Landau, Executive Director, Reporters Committee for Freedom of the Press 1978 Robert H. Estabrook, Lakeville Journal 1977 Robert W. Greene, Newsday 1976 Donald F. Bolles, The Arizona Republic 1975 Seymour M. Hersh, The New York Times 1974 Thomas E. -
VVMF Education Guide
FOUNDERS OF THE WALL ECHOES FROM THE WALL Wars usually take place far from American soil in places that few Americans understand. Americans are thus dependent on others, such as the government, the news media, and the entertainment industry, to help them understand why the nation is at war, the progress of the war, and the outcomes and implications. IN THE CLASSROOM DISCUSSION GUIDE This lesson plan will involve a review of how information on war has been The Media and War reported over the course of the 20th Americans rely heavily on the news media for information about the How do Americans century. Students will analyze and nation’s wars. Begin by asking students what they believe to be the role of the media in society: Is it to keep citizens informed? Is it to tell the truth at any cost? Is it to influence Understand the Wars debate the validity of information change? Is it to confirm what we already believe? Can it play several roles at once? coming from different news sources, Across much of American history, the U.S. government exercised little control over the from Vietnam to today, and discuss ability of the news media to report on military operations. But during the First and Their Nation Fights? Second World Wars, the United States placed new restrictions on the flow of information. the role of a free press. During the Second World War, for example, the newly established Office of Censorship circulated a “Code of Wartime Practices for the American Press,” which prohibited journalists from reporting any information – everything from details about troop movements to weather reports to industrial production figures – that might have value to the enemy. -
Vietnam War Photos That Made a Difference by Richard Pyle Sep
Vietnam War Photos That Made a Difference By Richard Pyle Sep. 12, 2013 Sep. 12, 2013 12 A group of people are huddled together in a jungle clearing, some with arms reaching toward a light from above. At first glance, perhaps an allegorical painting from the age of da Vinci. But on closer examination, it’s a black and white photograph. The people are soldiers, and the divine deliverance they seek is a medevac helicopter, coming in to pick up wounded men. Given the subject matter, that image, by Art Greenspon, might never have made it past the censors of World War II, which was nearly into its third year before Americans first saw photos of dead G.I.’s on a Pacific beach. Today, it is on the cover of “Vietnam: The Real War,” a new history of America’s military and political misadventure in Southeast Asia, built around nearly 300 photo images from the archives of The Associated Press. More than a century after the first murky photographs of soldiers on horseback were made during the United States’ 1846-48 war with Mexico, the depiction of conflict by the camera finally came into its own in Vietnam. By then, the once-static snapshots of men in camps or posing with their cannons had become museum curiosities. Robert Capa had famously captured the image of a “falling soldier” in Spain’s civil war in 1936, and during the next decade photographers in World War II wielded their cumbersome Speed Graphics to record war from Europe to the Pacific. Joe Rosenthal’s hasty shot of Marines raising an American flag on a sulfurous island called Iwo Jima became the war’s best-known photograph, and a metaphor for the impending Allied victory. -
Street Photography Reframed
arts Editorial Street Photography Reframed Stephanie Schwartz Department of History of Art, University College London, London WC1E 6BT, UK; [email protected] Afraid of contagion? Stand six feet from the next protester, and it will only make a more powerful image on TV. But we need to reclaim the street. Davis(2020a) When I began writing this Introduction in April 2020, the streets were empty. Or, to be more precise, this was what I was seeing in the many photographs that were making up the daily news. Day after day, photographs of empty piazzas in Rome and Venice were filling up my news feed. I was seeing or being shown the impact of the spread of the coronavirus on public spaces. There was no traffic on the Brooklyn Bridge and no footfall through London’s Trafalgar Square. New York’s Times Square also appeared to be at a complete and total standstill (Figure1). As of March 2020, public life in the streets of most financial capitals had been put on hold for the foreseeable future. It was eerie—or so I was told. This was the word being used over and over again in the headlines.1 It seems that those sitting Citation: Schwartz, Stephanie. 2021. at home needed to be haunted—though not necessarily by what once was. They needed Arts 2021, 10, x FOR PEER REVIEW 3 of 13 Street Photography Reframed. Arts to be haunted by what might no longer be: living in public, being in the streets, loitering, 10: 29. https://doi.org/ meandering, and shopping.2 10.3390/arts10020029 Received: 7 April 2021 Accepted: 8 April 2021 Published: 28 April 2021 Publisher’s Note: MDPI stays neutral with regard to jurisdictional claims in published maps and institutional affil- iations. -
The News Media Coverage of the Tet Offensive (1968): Historical Evaluation As and Educational Tool
Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 1992 The News Media Coverage of the Tet Offensive (1968): Historical Evaluation as and Educational Tool Edmund J. Rooney Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_diss Part of the Education Commons Recommended Citation Rooney, Edmund J., "The News Media Coverage of the Tet Offensive (1968): Historical Evaluation as and Educational Tool" (1992). Dissertations. 3196. https://ecommons.luc.edu/luc_diss/3196 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1992 Edmund J. Rooney LOYOLA UNIVERSITY OF CHICAGO THE NEWS MEDIA COVERAGE OF THE TET OFFENSIVE (1968): HISTORICAL EVALUATION AS AN EDUCATIONAL TOOL A DISSERTATION SUBMITTED TO THE FACULTY OF THE SCHOOL OF EDUCATION IN CANDIDACY FOR THE DEGREE OF DOCTOR OF EDUCATION EDUCATIONAL LEADERSHIP AND POLICY STUDIES BY EDMUND J. ROONEY JR. CHICAGO, ILLINOIS MAY 1992 ACKNOWLEDGMENTS First, thanks to my family, including my deceased parents, for their help and encouragement over many years. Especial gratitude goes to my wife of thirty-six years--Mary--and to my six children of whom five are Loyola graduates and the sixth is a senior in Loyola's School of Education. Second, many thanks to my Loyola faculty colleagues--past and present. Two former Chairs of the Department of Communication--the late Professor Elaine Bruggemeier and Dr.