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The Global Visual Memory a Study of the Recognition and Interpretation of Iconic and Historical Photographs
The Global Visual Memory A Study of the Recognition and Interpretation of Iconic and Historical Photographs Het Mondiaal Visueel Geheugen Een studie naar de herkenning en interpretatie van iconische en historische foto’s (met een samenvatting in het Nederlands) Proefschrift ter verkrijging van de graad van doctor aan de Universiteit Utrecht op gezag van de rector magnificus, prof.dr. H.R.B.M. Kummeling, ingevolge het besluit van het college voor promoties in het openbaar te verdedigen op woensdag 19 juni 2019 des middags te 2.30 uur door Rutger van der Hoeven geboren op 4 juni 1974 te Amsterdam Promotor: Prof. dr. J. Van Eijnatten Table of Contents Abstract 2 Preface 3 Introduction 5 Objectives 8 Visual History 9 Collective Memory 13 Photographs as vehicles of cultural memory 18 Dissertation structure 19 Chapter 1. History, Memory and Photography 21 1.1 Starting Points: Problems in Academic Literature on History, Memory and Photography 21 1.2 The Memory Function of Historical Photographs 28 1.3 Iconic Photographs 35 Chapter 2. The Global Visual Memory: An International Survey 50 2.1 Research Objectives 50 2.2 Selection 53 2.3 Survey Questions 57 2.4 The Photographs 59 Chapter 3. The Global Visual Memory Survey: A Quantitative Analysis 101 3.1 The Dataset 101 3.2 The Global Visual Memory: A Proven Reality 105 3.3 The Recognition of Iconic and Historical Photographs: General Conclusions 110 3.4 Conclusions About Age, Nationality, and Other Demographic Factors 119 3.5 Emotional Impact of Iconic and Historical Photographs 131 3.6 Rating the Importance of Iconic and Historical Photographs 140 3.7 Combined statistics 145 Chapter 4. -
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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Torrey Peters Has Written the Trans Novel Your Book Club Needs to Read Now P.14
Featuring 329 Industry-First Reviews of Fiction, Nonfiction, Children'sand YA books KIRKUSVOL. LXXXIX, NO. 1 | 1 JANUARY 2021 REVIEWS Torrey Peters has written the trans novel your book club needs to read now p.14 Also in the issue: Lindsay & Lexie Kite, Jeff Mack, Ilyasah Shabazz & Tiffany D. Jackson from the editor’s desk: New Year’s Reading Resolutions Chairman BY TOM BEER HERBERT SIMON President & Publisher MARC WINKELMAN John Paraskevas As a new year begins, many people commit to strict diets or exercise regimes # Chief Executive Officer or vow to save more money. Book nerd that I am, I like to formulate a series MEG LABORDE KUEHN of “reading resolutions”—goals to help me refocus and improve my reading [email protected] Editor-in-Chief experience in the months to come. TOM BEER Sometimes I don’t accomplish all that I hoped—I really ought to have [email protected] Vice President of Marketing read more literature in translation last year, though I’m glad to have encoun- SARAH KALINA [email protected] tered Elena Ferrante’s The Lying Life of Adults (translated by Ann Goldstein) Managing/Nonfiction Editor and Juan Pablo Villalobos’ I Don’t Expect Anyone To Believe Me (translated by ERIC LIEBETRAU Daniel Hahn)—but that isn’t exactly the point. [email protected] Fiction Editor Sometimes, too, new resolutions form over the course of the year. Like LAURIE MUCHNICK many Americans, I sought out more work by Black writers in 2020; as a result, [email protected] Tom Beer Young Readers’ Editor books by Claudia Rankine, Les and Tamara Payne, Raven Leilani, Deesha VICKY SMITH [email protected] Philyaw, and Randall Kenan were among my favorites of the year. -
Engaged Observers: Documentary Photography Since the Sixties
OBJECT LIST Engaged Observers: Documentary Photography since the Sixties At the J. Paul Getty Museum, the Getty Center June 29–November 14, 2010 1. Leonard Freed (American, 1929 - 2006) 5. Leonard Freed (American, 1929 - 2006) Demonstration, New York City, 1963 Georgia, 1965 Gelatin silver print Gelatin silver print Image: 25.9 x 35.4 cm (10 3/16 x 13 15/16 Image: 38.3 x 25.6 cm (15 1/16 x 10 1/16 in.) in.) Gift of Brigitte and Elke Susannah Freed. The Gift of Brigitte and Elke Susannah Freed. The J. Paul Getty Museum, Los Angeles, J. Paul Getty Museum, Los Angeles, 2008.59.3 2008.59.9 2. Leonard Freed (American, 1929 - 2006) 6. Leonard Freed (American, 1929 - 2006) March on Washington, Washington, D.C., Political Meeting, Harlem, 1963 August 28, 1963 Gelatin silver print Gelatin silver print Image: 33.2 x 25.2 cm (13 1/16 x 9 15/16 Image: 37.8 x 25.4 cm (14 7/8 x 10 in.) in.) Gift of Brigitte and Elke Susannah Freed. The The J. Paul Getty Museum, Los Angeles, J. Paul Getty Museum, Los Angeles, 2008.62.3 2008.59.4 7. Leonard Freed (American, 1929 - 2006) 3. Leonard Freed (American, 1929 - 2006) New York City, 1963 Johns Island, South Carolina, 1964 Gelatin silver print Gelatin silver print Image: 33.2 x 25.2 cm (13 1/16 x 9 15/16 Image: 25.7 x 34.9 cm (10 1/8 x 13 3/4 in.) in.) Gift of Brigitte and Elke Susannah Freed. -
Books Keeping for Auction
Books Keeping for Auction - Sorted by Artist Box # Item within Box Title Artist/Author Quantity Location Notes 1478 D The Nude Ideal and Reality Photography 1 3410-F wrapped 1012 P ? ? 1 3410-E Postcard sized item with photo on both sides 1282 K ? Asian - Pictures of Bruce Lee ? 1 3410-A unsealed 1198 H Iran a Winter Journey ? 3 3410-C3 2 sealed and 1 wrapped Sealed collection of photographs in a sealed - unable to 1197 B MORE ? 2 3410-C3 determine artist or content 1197 C Untitled (Cover has dirty snowman) ? 38 3410-C3 no title or artist present - unsealed 1220 B Orchard Volume One / Crime Victims Chronicle ??? 1 3410-L wrapped and signed 1510 E Paris ??? 1 3410-F Boxed and wrapped - Asian language 1210 E Sputnick ??? 2 3410-B3 One Russian and One Asian - both are wrapped 1213 M Sputnick ??? 1 3410-L wrapped 1213 P The Banquet ??? 2 3410-L wrapped - in Asian language 1194 E ??? - Asian ??? - Asian 1 3410-C4 boxed wrapped and signed 1180 H Landscapes #1 Autumn 1997 298 Scapes Inc 1 3410-D3 wrapped 1271 I 29,000 Brains A J Wright 1 3410-A format is folded paper with staples - signed - wrapped 1175 A Some Photos Aaron Ruell 14 3410-D1 wrapped with blue dot 1350 A Some Photos Aaron Ruell 5 3410-A wrapped and signed 1386 A Ten Years Too Late Aaron Ruell 13 3410-L Ziploc 2 soft cover - one sealed and one wrapped, rest are 1210 B A Village Destroyed - May 14 1999 Abrahams Peress Stover 8 3410-B3 hardcovered and sealed 1055 N A Village Destroyed May 14, 1999 Abrahams Peress Stover 1 3410-G Sealed 1149 C So Blue So Blue - Edges of the Mediterranean -
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 Welsh Society of Vancouver
THE WELSH SOCIETY OF VANCOUVER Cymdeithas Gymraeg Vancouver Cambrian News Mai May 2008 2008 Society Newsletter – Cylchgrawn y Gymdeithas From Vancouver to Bridgend National Eisteddfod1948 CAMBRIAN HALL, 215 East 17th Ave, Vancouver B.C. V5V 1A6 1 Newsletter May 2008 - Cylchgrawn Mai 2008 VANCOUVER WELSH SOCIETY The Cambrian News Officers: From The Editor: President: Jane Byrne (604) 732-5448 This issue features some historical Press Vice-President: Clippings regarding Thomas Edwards, Lynn Owens-Whalen 266-2545 the first Leader of the Overseas Welsh at Secretary: the National Eisteddfod at Bridgend Lynne Shepard 879-6925 1948 and a founder of the Cambrian Treasurer: Hall. I am most grateful to Anne Bosch Gaynor Evans 271-3134 (nee Hutchinson) for providing me with Membership Secretary: copies of these historic documents. Heather Davies 734-5500 Immediate Past President: The front page photograph was entitled Tecwyn Roberts 464-2760 “Back to Swansea from Canada” and read “Mr. and Mrs. Thomas Edwards, Directors: accompanied by their daughter and John Cann granddaughter arriving at High-street Mary Lewis Station. They were greeted by relatives John Morris from Llangyfelach, Lougher and Alcwyn Rogers Gorseinen, who are also in the picture. Eifion Williams (Note: Anne is on the left of centre, her mother Sarah Hutchinson is next, then Contacts Mrs. Edwards and finally Mr. Edwards Building Committee: on the right centre.) Lynn Owens-Whalen 266-2545 Cambrian Circle Singers: David Llewelyn Williams Nerys Haqq 278-8978 Church Service: John Cann 588-0249 On a sad note, we learnt that Marion Rentals: Griffiths passed away in New Zealand th Glyn Shepard 879-6925 on March 28 following a stroke. -
West Page 1 Saigon Memories 1,905 Words As a 1958 High School
West Page 1 Saigon Memories 1,905 words As a 1958 high school graduate without a firm grasp of a career, I decided to pass on college and cast my lot with Uncle Sam. I’d sent post cards of interest to all the services. Only the Marine Corps responded. I signed on the dotted line and went looking for adventure. During the next six years I found it - in spades. In February, 1962, I graduated with class number 1-62 at the Marine Security Guard School, Henderson Hall, Quantico, Virginia. The day we received our embassy assignments was memorable. As they called names off, I realized I wasn’t going to Lisbon, Paris, Stockholm, Athens, or anywhere else equally exotic and cool. Tom Mollick, LeRoy Vestal, and I were being sent to Saigon, and I didn’t even know where it was. I’d never heard of South Vietnam, though I was familiar with French Indo-China, a name which was offered as a reference point. I made a mad dash to the library and dug into whatever news magazines were available. What I read both chilled my spine and accelerated my pulse. “Holy s---,” I remember saying aloud, “there’s a shootin’ war going on over there!” Little did I know. After flying 9,003 miles, most of it by MATS (military air transport service and all of it facing the tail of the plane), with stopovers in San Francisco, Honolulu, and Guam, we landed at Clark AFB in the Philippine Islands. After a quick stopover in Manila to get our passports stamped with a Vietnam visa we boarded an Air France commercial airliner and continued. -
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. -
How the Vietnam War Had Profound Consequences on Reporting Future Conflicts
How the Vietnam War had profound consequences on reporting future conflicts Can a new BBC documentary about the Vietnam War convey the conflict's horrors? Vietnam. Picture Phillip Jones Griffith ©Philip Jones Griffiths (Image: ©Philip Jones Griffiths) Want the latest news sent straight to your inbox? When you subscribe we will use the information you provide to send you these newsletters. Sometimes they’ll include recommendations for other related newsletters or services we offer. OurPrivacy Noticeexplains more about how we use your data, and your rights. You can unsubscribe at any time. Thank you for subscribingWe have more newslettersShow meSee ourprivacy notice Invalid Email For the last two Mondays BBC Four has broadcast the first instalments of Ken Burns’ 10-part documentary series on the Vietnam War. The series has long been anticipated, not least because Burns is considered by many to be the USA’s greatest living practitioner of the art of factual film. Indeed, his 1990 series on the American Civil War has been lauded as the country’s finest documentary and was the recipient of dozens of awards including two Emmys and two Grammys. Initial reviews of The Vietnam War have generally been positive. In the Guardian, Mark Lawson wrote that the series was, along with Burns’ other work, a broadasting event “that will stand for ever in the history of TV”, while in the Times Chris Bennon said: “This is serious telly. An exhaustive, intellectual series… worth every penny spent in the archives”. There are dissenting voices, though. Nick Turse, an expert on foreign policy and author of several books including Kill Any- thing That Moves: The Real American War in Vietnam, states that Burns (and long- term co director Lynn Novick) gloss over the devastating Vietnamese civilian death toll at the hands of US forces.