Malcolm W. Browne Papers [Finding Aid]. Library of Congress. [PDF
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Pulitzer Prizes for International Reporting in the Third Phase of Their Development, 1963-1977
INTRODUCTION THE PULITZER PRIZES FOR INTERNATIONAL REPORTING IN THE THIRD PHASE OF THEIR DEVELOPMENT, 1963-1977 Heinz-Dietrich Fischer The rivalry between the U.S.A. and the U.S.S.R. having shifted, in part, to predomi- nance in the fields of space-travel and satellites in the upcoming space age, thus opening a new dimension in the Cold War,1 there were still existing other controversial issues in policy and journalism. "While the colorful space competition held the forefront of public atten- tion," Hohenberg remarks, "the trained diplomatic correspondents of the major newspa- pers and wire services in the West carried on almost alone the difficult and unpopular East- West negotiations to achieve atomic control and regulation and reduction of armaments. The public seemed to want to ignore the hard fact that rockets capable of boosting people into orbit for prolonged periods could also deliver atomic warheads to any part of the earth. It continued, therefore, to be the task of the responsible press to assign competent and highly trained correspondents to this forbidding subject. They did not have the glamor of TV or the excitement of a space shot to focus public attention on their work. Theirs was the responsibility of obliging editors to publish material that was complicated and not at all easy for an indifferent public to grasp. It had to be done by abandoning the familiar cliches of journalism in favor of the care and the art of the superior historian .. On such an assignment, no correspondent was a 'foreign' correspondent. The term was outdated. -
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. -
Unquiet American: Malcolm Browne in Saigon, 1961–65
THE UNQUIET AMERICAN: Malcolm Browne in Saigon, 1961–65 The Unquiet American: Malcolm Browne in Saigon, 1961–65, other invidious means to impede reporting he perceived Browne’s photograph of the self-immolation of Thich an exhibit drawn from The Associated Press Corporate as critical of his government. Meanwhile, the White House Quan Duc, taken on June 11, 1963, led President John F. From left: Archives, honors the courageous journalism of Malcolm and Pentagon provided little information to reporters and Kennedy to reappraise U.S. support of Diem. After Diem’s Malcolm Browne at work in New York as a chemist for the Foster D. Snell Browne (1931–2012) during the early years of the Vietnam pressured them for favorable coverage of both the political murder on Nov. 1, 1963, in a coup that most probably had Co. in 1953, before his induction into the military and subsequent career War. While Browne was reporting a war being run largely and military situations. the administration’s tacit approval, Browne provided an in journalism. covertly by the White House, the CIA and the Pentagon, unmatched account of Diem’s final hours that received PHOTO COURTESY LE LIEU BROWNE he was waging his own battles in another: the war against Browne arrived in Saigon on Nov. 7, 1961, joining Vietnamese tremendous play. For his breaking news stories and his Associated Press General Manager Wes Gallagher, left, walks with AP journalists. Meanwhile, he accompanied U.S. advisers colleague Ha Van Tran. The bureau soon acquired two astute analysis of a war in the making, Browne won the correspondent Malcolm Browne in Saigon upon Gallagher’s arrival, March 20, by helicopter into the countryside seeking the latest formidable additions, correspondent Peter Arnett and Pulitzer Prize for international reporting in 1964. -
Signature Redacted Sign Ature Redacted
VIET NAM'S STRATEGIC HAMLET: DEVELOPMENT AND DENOUEMENT By Leland E. Prentice Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Science at the MASSACHUSETTS INSTITUTE OF TECHNOLOGY August 1969 Signature Redacted Signature of Author D&partment of Political Science Certified by Signature Redacted Tht1is S ulepervJsor Sign ature Redacted Accepted by Chairman, Departmental Commi ttee on Graduate Students Archives iAss. INST. rtEC. OCT 2 9 1969 rA RI S 77 Massachusetts Avenue Cambridge, MA 02139 MIT Libraries http://libraries.mit.edu/ask DISCLAIMER NOTICE Due to the condition of the original material, there are unavoidable flaws in this reproduction. We have made every effort possible to provide you with the best copy available. Thank you. Some pages in the original document contain text that runs off the edge of the page. I ACKNOWLEDGEMENTS As in most research, there are certain individuals who contribute to a study but do not appear on the title page. I am personally indebted to many individuals for their contributions throughout my period of study at The Massachusetts Institute of Technology. There are certain individuals to whom I wish to extend my personal appreciation for their efforts to aid me not only in the writing of this thesis, but also in the completion of my academic program. Professors William W. Kaufmann and Donald Blackmer greatly assisted me in my development as a student of political science. Colonel Marshall 0. Becker has relieved me of numerous responsibilities, to the burden of my fellow staff members, in order that I might complete this study. -
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. -
War News Coverage
WAR NEWS COVERAGE A STUDY OF ITS DEVELOPMENT IN THE UNITED STATES by PUNLEY HUSTON YANG B.L#, National Chengchi University Taipei, China, 1961 A MASTER 1 S THESIS submitted in partial fulfillment of the requirements for the degree MASTER OF SCIENCE Department of Technical Journalism KANSAS STATE UNIVERSITY Manhattan, Kansas 1968 Approved by: ajor Professor JCC? ii J3 ACKNOWLEDGMENTS I wish to express my appreciation to the many persons whose guidance, suggestions, and services have helped to make possible the completion of this thesis. First of all, I am immeasurably indebted to Mr. Del Brinkman for his suggestions, criticism, and patience* I would also like to acknowledge Dr. F. V. Howe as a member of my Advisory Committee, and Professor Ralph Lashbrook as Chairman of the Committee for the Oral Examination. I wish to thank Helen Hostetter for her suggestions on the style of the thesis and English polishing. I wish to extend my thanks for Kim Westfahl's tremendous typing. Finally, sincere appreciation is due the Lyonses, the Masons, and Myrna Hoogenhous for their continual encouragement in the school years. iii TABLE OF CONTENTS Page ACKNOWLEDGMENTS . ii INTRODUCTION -V Chapter I. A WAR CORRESPONDENT'S PORTRAIT 1 II. EARLY PERIOD* WAR CORRESPONDENTS IN THE 19th CENTURY 6 III. COVERAGE OF THE SPANISH-AMERICAN WAR H* IV. COVERAGE OF THE FIRST WORLD WAR 26 V. COVERAGE OF THE SECOND WORLD WAR «f0 VI. COVERAGE OF THE KOREAN WAR 63 VII. COVERAGE OF THE VIETNAM WAR 75 VIII. CONCLUSION 98 BIBLIOGRAPHY 100 IV • • • • And let me speak to the yet unknowing World How these things came about: so shall you hear Of carnal, bloody and unnatural acts, Of accidental judgments, casual slaughters, Of deaths put on by cunning and forced cause, And, in this upshot, purposes mistake Fall'n on the inventors 1 heads: all this can I truly deliver. -
Ideological, Dystopic, and Antimythopoeic Formations of Masculinity in the Vietnam War Film Elliott Stegall
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2014 Ideological, Dystopic, and Antimythopoeic Formations of Masculinity in the Vietnam War Film Elliott Stegall Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES IDEOLOGICAL, DYSTOPIC, AND ANTIMYTHOPOEIC FORMATIONS OF MASCULINITY IN THE VIETNAM WAR FILM By ELLIOTT STEGALL A Dissertation submitted to the Program in Interdisciplinary Humanities in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Fall Semester, 2014 Elliott Stegall defended this dissertation on October 21, 2014. The members of the supervisory committee were: John Kelsay Professor Directing Dissertation Karen Bearor University Representative Kathleen Erndl Committee Member Leigh Edwards Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii ACKNOWLEDGEMENTS I am most grateful for my wife, Amanda, whose love and support has made all of this possible; for my mother, a teacher, who has always been there for me and who appreciates a good conversation; to my late father, a professor of humanities and religion who allowed me full access to his library and record collection; and, of course, to the professors who have given me their insight and time. iii TABLE OF CONTENTS List of Figures................................................................................................................................. v Abstract………………………………………………………………………………………...... vi 1. VIETNAM MOVIES, A NEW MYTHOS OF THE MASCULINE......................................... 1 2. DISPELLING FILMIC MYTHS OF THE VIETNAM WAR……………………………... 24 3. IN DEFENSE OF THE GREEN BERETS ………………………………………………..... -
Items-In-Peace-Keeping Operations - India/Pakistan - Press Clippings
UN Secretariat Item Scan - Barcode - Record Title Page 31 Date 30/05/2006 Time 9:39:26 AM S-0863-0003-05-00001 Expanded Number S-0863-0003-05-00001 items-in-Peace-keeping operations - India/Pakistan - press clippings Date Created 17/03/1970 Record Type Archival Item Container s-0863-0003: Peace-Keeping Operations Files of the Secretary-General: U Thant: India/Pakistan Print Name of Person Submit Image Signature of Person Submit Sheikh Blujibur Eahman—new Minster. P""(35 TSETWEEN" the 1st March Assembly from all parts of meetings which had been fix- ••"•* when there was a sudden Pakistan to co-operate with ed several weeks in advarcs announcement of the post- us in this historic task. On would not enable UK to travel ponement sine die of sitting of the 27th February v)e went to Rawalpindi at that time. to the extent of affirming that Furthermore, we had pointed the National Assembly and if any member prevents be- out that constitutional issues Sbeikls Blmjiibur Kahman, i the 6th March, the people of fore the Assemby anything were best: resolved within Uie in Bases. • Bangla Desh have been sub- Just and .reasonable we would National Assembly and its jected to military confronta- accept it. "But even this was Committees rather than by tion. There has been wide- ignored, 'it would appear deli- secret negotiations, and thnt spread firing upon unarmed berately and with motive. r.nce a National Assembly h:id civilians (workers, peasants been brought into beinc, and students) who had stood On the 1st March, by a ra- there was no justification for up to protest against the sud- dio statemet there was sudden any RTC or secret parleys. -
Vietnam War, January 2018
#25 January 2018 Cameraderie The Vietnam/American War I have covered only a little news photography so far in this series (Sam Nzima, #8, Summer. 2013). And no war photography at all. Painful as the images are, war photography is an important record of history, and sometimes a mover of history. Many of you have probably recently watched Ken Burns’ and Lynn Novick’s “The Vietnam War” series on public television. Here are some of the iconic images of the Vietnam/American war. The Tet Offensive Execution You can read the full story of this Pulitzer Prize-winning image of an execution in the field, taken in Saigon by Associated Press photographer Eddie Adams on Feb. 1, 1968, here: http://100photos.time.com/photos/eddie-adams-saigon-execution The shooter, Brigadier General Nguyen Ngoc Loan, died a natural death here in the United States. The New York Times obituary (http://www.nytimes.com/1998/07/16/world/nguyen- ngoc-loan-67-dies-executed-viet-cong-prisoner.html) had this to say, in part: Nguyen Ngoc Loan, the quick-tempered South Vietnamese national police commander whose impromptu execution of a Viet Cong prisoner on a Saigon street in the Tet offensive of 1968 helped galvanize American public opinion against the war, died on Tuesday at his home in Burke, Va. He was 67 and had operated a pizza parlor in nearby Dale City. I can recall reading in the Washington Post about him being “exposed” as leading a quite life in the suburbs of Washington, years after the end of the Vietnam/American war. -
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. -
Oped I Don't Want My Role Models Erased
3/20/2021 Opinion | I Don’t Want My Role Models Erased - The New York Times I Don’t Want My Role Models Erased This is how women who covered Vietnam were marginalized in the warʼs history. By Elizabeth Becker Ms. Becker, a former Times correspondent, reported from Cambodia in the mid- 1970s. She is the author of “You Do Not Belong Here,” a biography of the women war correspondents of the Vietnam War. March 20, 2021 Vietnam, the 10-year American fiasco that foreshadowed the disastrous forever wars of today, was written into history as it happened. The war’s most famous chroniclers — David Halberstam, Neil Sheehan and Malcolm Browne — were young men, all. But women journalists were there, too, reporting the war and risking their lives to bring back the story. I know because I was there learning from them. I arrived late in January 1973 and profited from the opening they made, and the example they set, by focusing on the humane questions of war. Kate Webb, a revered combat reporter, taught me how to measure a bomb crater with my feet when we covered the carpet bombing of Cambodia. Ms. Webb rose to become bureau chief for United Press International in the war zone, covering more battles than most of her male colleagues. She was captured by the North Vietnamese in Cambodia in 1971 and held for 23 days. When she came out alive, her story was front-page news. An Agence France-Press prize for journalists working in “perilous or difficult conditions” in Asia was named in her honor. -
Female War Correspondents in Vietnam: a Turning Point for Women in American Journalism
FEMALE WAR CORRESPONDENTS IN VIETNAM: A TURNING POINT FOR WOMEN IN AMERICAN JOURNALISM By Natalia J. Haller A Thesis Presented to The Faculty of Humboldt State University In Partial Fulfillment Of the Requirements for the Degree Master of Arts in Social Science Emphasis: Teaching American History May, 2006 FEMALE CORRESPONDENTS IN THE VIETNAM WAR: A TURNING POINT FOR WOMEN IN AMERICAN JOURNALISM by Natalia J. Haller Approved by the Master’s Thesis Committee: Delores McBroome, Major Professor Date Gayle Olson-Raymer, Committee Member Date Rodney Sievers, Committee Member Date Delores McBroome, Graduate Coordinator Date Donna E. Schafer, Dean for Research and Graduate Studies Date ABSTRACT Considering the amount of literature written on the Vietnam War, it is confounding that female war correspondents have failed to make a significant entry into historical accounts of the conflict. Part of the challenge when searching for literature on the female war correspondent in Vietnam is that historically, war and journalism have been considered a man’s area of expertise. Much of the literature written about reporters in Vietnam reflects this sentiment. This perception was transformed during the Vietnam War by an unprecedented number of courageous women who broke the stereotypes to become successful wartime correspondents. Unrestricted access to the fighting proved to be an opportunity for women journalists. Four hundred and sixty seven women became accredited during the war, of which 267 were American. The purpose of my research was to review the literature on various factors that created opportunity for women journalists in Vietnam and develop a prosopography of the female war correspondent.