Vietnam, the Last Assignment Summer 2020
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Paolo Pellegrin. Un'antologia
Mar Mediterraneo di notte, nei pressi della costa libica, 2015 Paolo Pellegrin. Un’antologia sull’umanità e sull’oggi. Da Gaza a Beirut, da El Paso a Tokyo, da Roma a Lesbo, le fotografie in mostra La mostra nasce da due anni di intenso lavoro raccontano, il dolore, la guerra, la distruzione, ma anche sull’archivio del fotografo romano e ripercorre, attraverso l’intima bellezza dell’essere umano nell’espressione oltre 150 immagini, numerosi inediti e alcuni contributi delle sue emozioni più profonde. In fondo alla galleria video, vent’anni della sua attività, dal 1998 al 2017. figure evanescenti, ritratti “transitori” colti in momenti Vincitore di 10 World Press Photo Award e numerosi di passaggio, che affiorano appena dal buio come fantasmi altri prestigiosi riconoscimenti in tutto il mondo, come (“ghost” nella definizione di Pellegrin). il Robert Capa Gold Medal Award e il Premio Eugene Smith, A questo racconto dell’essere umano, calato nel buio, Paolo Pellegrin (Roma, 1964) coniuga l’esperienza del fa da contraltare l’immersione in un ambiente improv- testimone in prima linea con l’intensità visiva dell’artista. visamente luminoso, in una luce che sembra sublimarsi Nel suo lavoro la progettualità a lungo termine si intreccia nel candore del ghiaccio dell’Antartide, nello sguardo con la sensibilità estetica, allenata da lunghi anni di studio di una giovane donna rom, nella potenza degli elementi intorno all’immagine e alla visione. della natura e nella spiritualità del rapporto atavico Il risultato è un metodo di lavoro che rimanda all’idea dell’uomo con essa, come accade nel bagno di due giovani di un giornalismo lento, guidato dall’urgenza intellettiva palestinesi nel Mar Morto. -
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. -
United States Air Force and Its Antecedents Published and Printed Unit Histories
UNITED STATES AIR FORCE AND ITS ANTECEDENTS PUBLISHED AND PRINTED UNIT HISTORIES A BIBLIOGRAPHY EXPANDED & REVISED EDITION compiled by James T. Controvich January 2001 TABLE OF CONTENTS CHAPTERS User's Guide................................................................................................................................1 I. Named Commands .......................................................................................................................4 II. Numbered Air Forces ................................................................................................................ 20 III. Numbered Commands .............................................................................................................. 41 IV. Air Divisions ............................................................................................................................. 45 V. Wings ........................................................................................................................................ 49 VI. Groups ..................................................................................................................................... 69 VII. Squadrons..............................................................................................................................122 VIII. Aviation Engineers................................................................................................................ 179 IX. Womens Army Corps............................................................................................................ -
Aa000343.Pdf (12.91Mb)
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IRAK La Reconstruction Du Pays Est Un Échec, Et Les ,Etats-Unis Sont Dans L'impasse
INSTITUT URD .. DE PARIS Bulletin de liaison et d'information .. I W234 I SEPTEMBRE 2004 La publication de ce Bulletin bénéficie de subventions du Ministèrefrançais des Affaires étrangères (DGCID) et du Fonds d'action et de soutien pour l'intégration et la lutte contre les discriminations (FASlLD) Ce bulletin paraît en français et anglais Prix au numéro: France: 6 € - Etranger: 7,5 £ Abonnement annuel (12 numéros) France: 60 € - Etranger: 75 € Périodique mensuel Directeur de la publication: Mohamad HASSAN Numéro de la Commission Paritaire: 659 13 A.S. "1i ISBN 0761 1285 INSTITUT KURDE, 106, rue La Fayette - 75010 PARIS Tél. : 01- 48 24 64 64 - Fax: 01- 48 24 64 66 www.fikp.org E-mail: [email protected] Sommaire • BAGHDAD: UNE PERSONNALITÉ KURDE, Dr. FOUAD MAASSOUM , ELUE PRÉSIDENT DU CONSEIL NATIONAL IRAKIEN. • HALABJA: DÉCOUVERTE D'UN NOUVEAU CHARNIER RENFERMANT DES . DIZAINES DE CADAVRES -l: • ANKARA: ADOPTION D'UN NOUVEAU CODE PÉNAL TURC APRÈS L'ABANDON DE L'ARTICLE TRÈS CONTROVERSÉ SUR LA CRIMINALISATION DE L'ADULTÈRE. (" • LE RÉALISATEUR KURDE BARMAN GHOBADI REÇOIT LE IICOQUILLAGE D'OR" AU 52ème FESTIVAL DU FILM DE SAINT-SÉBASTIEN POUR SON FILM "TURTLES CAN FLY" • SELON L'ARMÉE AMÉRICAINE 153 000 KURDES VIVENT DANS DES CAMPS DE FORTUNE! P~INCIPALE¥ENT À KIRKOUK, EN ATTENDANT QUE LES CONFLITS DE PROPRITETE SOIENT RESOLUS • ONU: LE PREMIER MINISTRE IRAKIEN DEMANDE DE L'AIDE À LA COMMUNAUTÉ INTERNATIONALE POUR IIVAINCRE LES FORCES TERRORISTES" • ULTIME VISITE EN TURQUIE DE GUNTER VERHEUGEN, COMMISSAIRE CHARGÉ DE L'ELARGISSEMENT, AVANT LA PUBLICATION DU RAPPORT DE L'UE . • HOSHYAR ZEBARI, MINISTRE IRAKIEN DES AFFAIRES ÉTRANGÈRES, ANNONCE L'ORGANISATION D'UNE CONFÉRENCE MINISTÉRIELLE POUR LA STABILISATION DE L'IRAK • TÉHÉRAN: LE PRÉSIDENT KHATAMI CONFIRME LA POURSUITE DU PROGRAMME NUCLÉAIRE IRANIEN • BAGHDAD: SELON UN BILAN OFFICIEL LA GUERRE AURAIT FAIT DE 10 000 À 30 000 VICTIMES IRAKIENNES TANDIS QUE LE CAP DES 1000 MORTS AMÉRICAINS EST FRANCHI • AINSI QUE.. -
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. -
On Photography, History, and Memory in Spain Hispanic Issues on Line Debates 3 (2011)
2 Remembering Capa, Spain and the Legacy of Gerda Taro, 1936–1937 Hanno Hardt Press photographs are the public memory of their times; their presence in the public sphere has contributed significantly to the pictures in our heads on which we rely for a better understanding of the world. Some photographs have a special appeal, or an extraordinary power, which makes them icons of a particular era. They stand for social or political events and evoke the spirit of a period in history. They also help define our attitudes towards people or nations and, therefore, are important sources of emotional and intellectual power. War photography, in particular, renders imagery of this kind and easily becomes a source of propaganda as well. The Spanish Civil War (1936–39) was the European testing ground for new weapons strategies by the Soviet Union and Nazi Germany. Both aided their respective sides in the struggle between a Popular Front government— supported mainly by left-wing parties, workers, and an educated middle class—and “Nationalist” forces supported by conservative interests, the military, clergy, and landowners. The conflict resulted in about 500,000 deaths, thousands of exiles, and in a dictatorship that lasted until Franco’s death in 1975. It was a time when large-scale antifascist movements such as the Republican army, the International Brigades, the Workers’ Party of Marxist Unification, and anarchist militias (the Iron Column) united in their struggle against the military rebellion led by Francisco Franco. Foreigners joined the International Brigade, organized in their respective units, e.g., the Lincoln Battalion (USA), the British Battalion (UK), the Dabrowski Battalion (Poland), the Mackenzie-Papineau Battalion (Canada), and the Naftali Botwin Company (Poland and Spain, including a Jewish unit). -
Steve Mccurry
Steve McCurry One of Today’s Most Outstanding Photographers Topics Steve McCurry is an American War photojournalist best known for his What he offers you photograph, Afghan Girl that Featured in magazines around the Afghanistan originally appeared in the National globe, Steve McCurry is a master Geographic magazine. photographer who has produced Poverty Throughout his distinguished many of the world’s iconic images, career he has continued to cover having endured countless Religion international conflicts, including situations of grave danger. Driven the Iran-Iraq war, Beirut, by an innate curiosity and sense Happiness Cambodia, the Philippines, the of wonder about the world and Gulf War, and Afghanistan. His everyone in it, he shares vivid and Children and Women work has been featured worldwide thought-provoking insights into his in magazines and he is a frequent uncanny ability to cross USA 11/9 contributor to National boundaries of language and Geographic. He has twice been culture to capture stories of awarded the World Press Photo human experience. Award, which has come to be regarded as the most prestigious How he presents Publications international award for One of today’s finest image photojournalism in the world. makers, Steve McCurry’s high content presentations bring you 2009 Afghan Girl was named as "the closer to this man of exceptional most recognized photograph" in courage who has achieved The Unguarded Moment the history of the National memorable and moving work, 2007 Geographic magazine including a modern Mona Lisa In the Shadow of Mountains In detail (Afghan Girl). 2006 Steve McCurry began studying film Looking East history cinematography and Languages filmmaking at Penn State in 1968, He presents in English. -
Introduction
Introduction This collection of essays and reviews follows right on from Anglo- English Attitudes. The last piece in that book was written in 1999; the earliest one here is from the same year. To be honest, nothing much has changed in the interim. I write about whatever happens to interest me, sometimes accepting commissions from editors, sometimes writing pieces and sending them in on spec. A decade from now, by which time I’ll be in my sixties, I hope to have enough new mate- rial to bring out a third volume. You see, I’ve got tenure on this pecu- liarly vacant chair – or chairs, rather. It’s a job for life; more accurately, it is a life, and hardly a day goes by without my marvelling that it is somehow feasible to lead it. As in the earlier collection, there’s no area of specialised concern or expertise; on the contrary, the pleasure, hopefully, lies in the pick ’n’ mix variety, the way one thing leads to another (often Quite different) thing. Actually, one thing has changed: in the last ten years I’ve been asked to contribute introductions to Quite a few books, either re - issued literary classics or photographic monographs and catalogues. I love doing this and am especially grateful to the editors who somehow got wind of the idea that I was interested in Rebecca West or Richard Avedon or whoever and gave me the chance to get between the covers of a shared volume with them. This seems to me the greatest privilege that can be afforded any reader (even if it slightly under- mines the idea of being – as I claim in a piece to be found later in this volume – a gatecrasher). -
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. -
B-57G Thailandthailand November 2010
November 2010 Vol. 27 No. 3 The Magazine of the 13th Bomb Squadron Association OUR HERITAGE - 13th Aero Squadron 14 June 1917 http://www.13thbombsquadron.org/ Bottom Row Left to Right Forman; Unk; Kelly; Miller;Mathews; Tetreault; Scroggs; Brandon; Buttram, Jack; Dievert; Stroehl, Charlie; Allner, Walt; Unk; Brietski Second Row Chase; Howard;Unk; Unk; Kahen; Mertz; Unk; Judd; Diamond;Lamer; Eddie;Unk; Krough Third Row Golojuch; Griffin (1st Sgt.); Pope; Unk;Palm; Taddlock; Unk; Bell; Unk; Unk; Sahli;Leapold; Mr. Young;Beaslet, Tom; Long; Hedland; Hambleton; Williams; Unk; Reed On Aircraft Devalt; Pickles; Thompson B-57GB-57G ThailandThailand November 2010 President’s Corner A first-time Gathering of know any of these men, please contact and congratulate 13th Eagles occurred at them and then invite them to join our Association and Tampa, FL. on September come to the Washington, DC Reunion in May 2011. 18, 2010, when the men of the 13th Bomb Squadron The new 13th Bomb Squadron Association web site should (B-57G) met to celebrate their be available in Dec. at www.13thBombSquadron.net. departure to the Vietnam Our designer, FaverWebs, has done a terrific job over War exactly 40 years earlier. the last six months in helping us with the development These men continued the and structure of the site and adding suggestions and 13th Bomb Squadron fight constructive comments to get us on line. We must thank against the North Vietnamese Suzie Faver and her expert team headed by Sarah Adams and Viet Cong enemy that for all the help and hard work which brought the site to Bob Butterfield Grim Reapers had begun in fruition.