In this __Very Short Introduction__, Vanessa Schwartz argues that modern France, as both a world stage and a global crossroads, is an essential actor in the development of contemporary culture. Indeed, French is the only language other than English spoken on five continents, and more people still visit France than anywhere else in the world. French fashion continues to dominate haute couture and, at the same time, French people are at the forefront of international "style," which was as true in the first half of the twentieth century as it is today. This tension between "Frenchness" as both particular and transnational remains one of the most compelling qualities of the culture. If French culture and culture producers are working around the globe, if Paris is an international capital, the marvel is that France still manages to attract visitors from all over the world seeking out the drama of its historic castles and significant battlefields, its more than 300 cheeses and the renowned wines grown in its rich soil.**About the Series:** Combining authority with wit, accessibility, and style, **Very Short Introductions** offer an introduction to some of life's most interesting topics. Written by experts for the newcomer, they demonstrate the finest contemporary thinking about the central problems and issues in hundreds of key topics, from philosophy to Freud, quantum theory to Islam

University of California Press, 1998. — 243 p. During the second half of the nineteenth century, Paris emerged as the entertainment capital of the world. The sparkling redesigned city fostered a culture of energetic crowd-pleasing and multi-sensory amusements that would apprehend and represent real life as spectacle. Vanessa R. Schwartz examines the explosive popularity of such phenomena as the boulevards, the mass press, public displays of corpses at the morgue, wax museums, panoramas, and early film. Drawing on a wide range of written and visual materials, including private and business archives, and working at the intersections of art history, literature, and cinema studies, Schwartz argues that "spectacular realities" are part of the foundation of modern mass society. She refutes the notion that modern life produced an unending parade of distractions leading to alienation, and instead suggests that crowds gathered not as dislocated spectators but as members of a new kind of crowd, one united in pleasure rather than protest.

In this __Very Short Introduction__, Vanessa Schwartz argues that modern France, as both a world stage and a global crossroads, is an essential actor in the development of contemporary culture. Indeed, French is the only language other than English spoken on five continents, and more people still visit France than anywhere else in the world. French fashion continues to dominate haute couture and, at the same time, French people are at the forefront of international "style," which was as true in the first half of the twentieth century as it is today. This tension between "Frenchness" as both particular and transnational remains one of the most compelling qualities of the culture. If French culture and culture producers are working around the globe, if Paris is an international capital, the marvel is that France still manages to attract visitors from all over the world seeking out the drama of its historic castles and significant battlefields, its more than 300 cheeses and the renowned wines grown in its rich soil.**About the Series:** Combining authority with wit, accessibility, and style, **Very Short Introductions** offer an introduction to some of life's most interesting topics. Written by experts for the newcomer, they demonstrate the finest contemporary thinking about the central problems and issues in hundreds of key topics, from philosophy to Freud, quantum theory to Islam

A lively and informative short volume that shows that France is not a faded glory but rather a place that has defined and shaped the key issues of our contemporary world, such as democracy and universal human rights, the emergence of a culture of consumerist spectacle, the tensions between nationalism and contemporary multiculturalism, and the role of religion in the modern state.

The recent history of cultural exchange between France and the United States would appear to be defined by “freedom fries” and boycotts against Beaujolais—or, on the other side of the Atlantic, by enraged farmers toppling statues of Ronald McDonald. But this dismal state of affairs is a long way from the mutual admiration that followed World War II, epitomized in a 1958 cover of <i>Look</i> magazine that declared “Brigitte Bardot conquers America.” <i>It’s So French!</i> explores the close affinity between the French and American film industries that flourished in the postwar years, breaking down myths of American imperialism and French cultural protectionism while illuminating the vital role that cinema has played in the globalization of culture. <p>Hollywood was once enamored with everything French and this infatuation blossomed in a wildly popular series of films including <i>An American in Paris</i>, <i>Gigi</i>, and <i>Funny Face</i>. Schwartz here examines the visual appeal of such films, and then broadens her analysis to explore their production and distribution, probing the profitable influences that Hollywood and Paris exerted on each other. This exchange moved beyond individual films with the sensational spectacle of the Cannes Film Festival and the meteoric career of Brigitte Bardot. And in turn, their success led to a new kind of film that celebrated internationalism and cultural hybridity. Ultimately, Schwartz uncovers an intriguing paradox: that the road to globalization was paved with nationalist clichés, and thus, films beloved for being so French were in fact the first signs of a nascent cosmopolitan culture.</p> <p>Packed with an array of colorful film stills, publicity photographs, paparazzi shots, ads, and never before seen archival images, <i>It’s So French!</i> is an incisive account of the fertile collaboration between France and the United States that expanded the geographic horizons of both filmmaking and filmgoing, forever changing what the world saw and dreamed of when they went to the movies.</p>

"Powerful and often controversial, news pictures promise to make the world at once immediate and knowable. Yet while many great writers and thinkers have evaluated photographs of atrocity and crisis, few have sought to set these images in a broader context by defining the rich and diverse history of news pictures in their many forms. For the first time, this volume defines what counts as a news picture, how pictures are selected and distributed, where they are seen and how we critique and value them. Presenting the best new thinking on this fascinating topic, this book considers the news picture over time, from the dawn of the illustrated press in the nineteenth century, through photojournalism's heyday and the rise of broadcast news and newsreels in the twentieth century and into today's digital platforms. It examines the many kinds of images: sport, fashion, society, celebrity, war, catastrophe and exoticism; and many mediums, including photography, painting, wood engraving, film and video. Packed with the best research and full colour-illustrations throughout, this book will appeal to students and readers interested in how news and history are key sources of our rich visual culture"-- Provided by publisher

Casting aside the traditional conception of film as an outgrowth of photography, theater, and the novel, the essays in this volume reassess the relationship between the emergence of film and the broader culture of modernity. Contributors, leading scholars in film and cultural studies, link the popularity of cinema in the late nineteenth century to emerging cultural phenomena such as window shopping, mail-order catalogs, and wax museums.This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1996.Casting aside the traditional conception of film as an outgrowth of photography, theater, and the novel, the essays in this volume reassess the relationship between the emergence of film and the broader culture of modernity. Contributors, leading scholars</DIV

During the second half of the nineteenth century, Paris emerged as the entertainment capital of the world. The sparkling redesigned city fostered a culture of energetic crowd-pleasing and multi-sensory amusements that would apprehend and represent real life as spectacle. <p>Vanessa R. Schwartz examines the explosive popularity of such phenomena as the boulevards, the mass press, public displays of corpses at the morgue, wax museums, panoramas, and early film. Drawing on a wide range of written and visual materials, including private and business archives, and working at the intersections of art history, literature, and cinema studies, Schwartz argues that "spectacular realities" are part of the foundation of modern mass society. She refutes the notion that modern life produced an unending parade of distractions leading to alienation and instead suggests that crowds gathered not as dislocated spectators but as members of a new kind of crowd, one united in pleasure rather than protest.</p>

In this __Very Short Introduction__, Vanessa Schwartz argues that modern France, as both a world stage and a global crossroads, is an essential actor in the development of contemporary culture. Indeed, French is the only language other than English spoken on five continents, and more people still visit France than anywhere else in the world. French fashion continues to dominate haute couture and, at the same time, French people are at the forefront of international "style," which was as true in the first half of the twentieth century as it is today. This tension between "Frenchness" as both particular and transnational remains one of the most compelling qualities of the culture. If French culture and culture producers are working around the globe, if Paris is an international capital, the marvel is that France still manages to attract visitors from all over the world seeking out the drama of its historic castles and significant battlefields, its more than 300 cheeses and the renowned wines grown in its rich soil.**About the Series:** Combining authority with wit, accessibility, and style, **Very Short Introductions** offer an introduction to some of life's most interesting topics. Written by experts for the newcomer, they demonstrate the finest contemporary thinking about the central problems and issues in hundreds of key topics, from philosophy to Freud, quantum theory to Islam

A lively and informative short volume that shows that France is not a faded glory but rather a place that has defined and shaped the key issues of our contemporary world, such as democracy and universal human rights, the emergence of a culture of consumerist spectacle, the tensions between nationalism and contemporary multiculturalism, and the role of religion in the modern state.

Casting aside the traditional conception of film as an outgrowth of photography, theater, and the novel, the essays in this volume reassess the relationship between the emergence of film and the broader culture of modernity. Contributors, leading scholars in film and cultural studies, link the popularity of cinema in the late nineteenth century to emerging cultural phenomena such as window shopping, mail-order catalogs, and wax museums.This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1996.Casting aside the traditional conception of film as an outgrowth of photography, theater, and the novel, the essays in this volume reassess the relationship between the emergence of film and the broader culture of modernity. Contributors, leading scholars</DIV

During the second half of the nineteenth century, Paris emerged as the entertainment capital of the world. The sparkling redesigned city fostered a culture of energetic crowd-pleasing and multi-sensory amusements that would apprehend and represent real life as spectacle. <p>Vanessa R. Schwartz examines the explosive popularity of such phenomena as the boulevards, the mass press, public displays of corpses at the morgue, wax museums, panoramas, and early film. Drawing on a wide range of written and visual materials, including private and business archives, and working at the intersections of art history, literature, and cinema studies, Schwartz argues that "spectacular realities" are part of the foundation of modern mass society. She refutes the notion that modern life produced an unending parade of distractions leading to alienation and instead suggests that crowds gathered not as dislocated spectators but as members of a new kind of crowd, one united in pleasure rather than protest.</p>

In this __Very Short Introduction__, Vanessa Schwartz argues that modern France, as both a world stage and a global crossroads, is an essential actor in the development of contemporary culture. Indeed, French is the only language other than English spoken on five continents, and more people still visit France than anywhere else in the world. French fashion continues to dominate haute couture and, at the same time, French people are at the forefront of international "style," which was as true in the first half of the twentieth century as it is today. This tension between "Frenchness" as both particular and transnational remains one of the most compelling qualities of the culture. If French culture and culture producers are working around the globe, if Paris is an international capital, the marvel is that France still manages to attract visitors from all over the world seeking out the drama of its historic castles and significant battlefields, its more than 300 cheeses and the renowned wines grown in its rich soil.**About the Series:** Combining authority with wit, accessibility, and style, **Very Short Introductions** offer an introduction to some of life's most interesting topics. Written by experts for the newcomer, they demonstrate the finest contemporary thinking about the central problems and issues in hundreds of key topics, from philosophy to Freud, quantum theory to Islam

In this __Very Short Introduction__, Vanessa Schwartz argues that modern France, as both a world stage and a global crossroads, is an essential actor in the development of contemporary culture. Indeed, French is the only language other than English spoken on five continents, and more people still visit France than anywhere else in the world. French fashion continues to dominate haute couture and, at the same time, French people are at the forefront of international "style," which was as true in the first half of the twentieth century as it is today. This tension between "Frenchness" as both particular and transnational remains one of the most compelling qualities of the culture. If French culture and culture producers are working around the globe, if Paris is an international capital, the marvel is that France still manages to attract visitors from all over the world seeking out the drama of its historic castles and significant battlefields, its more than 300 cheeses and the renowned wines grown in its rich soil.**About the Series:** Combining authority with wit, accessibility, and style, **Very Short Introductions** offer an introduction to some of life's most interesting topics. Written by experts for the newcomer, they demonstrate the finest contemporary thinking about the central problems and issues in hundreds of key topics, from philosophy to Freud, quantum theory to Islam

Casting aside the traditional conception of film as an outgrowth of photography, theater, and the novel, the essays in this volume reassess the relationship between the emergence of film and the broader culture of modernity. Contributors, leading scholars in film and cultural studies, link the popularity of cinema in the late nineteenth century to emerging cultural phenomena such as window shopping, mail-order catalogs, and wax museums.This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1996.Casting aside the traditional conception of film as an outgrowth of photography, theater, and the novel, the essays in this volume reassess the relationship between the emergence of film and the broader culture of modernity. Contributors, leading scholars</DIV

Powerful and often controversial, news pictures promise to make the world at once immediate and knowable. Yet while many great writers and thinkers have evaluated photographs of atrocity and crisis, few have sought to set these images in a broader context by defining the rich and diverse history of news pictures in their many forms. For the first time, this volume defines what counts as a news picture, how pictures are selected and distributed, where they are seen and how we critique and value them. Presenting the best new thinking on this fascinating topic, this book considers the news picture over time, from the dawn of the illustrated press in the nineteenth century, through photojournalism's heyday and the rise of broadcast news and newsreels in the twentieth century and into today's digital platforms. It examines the many kinds of images: sport, fashion, society, celebrity, war, catastrophe and exoticism; and many mediums, including photography, painting, wood engraving, film and video. Packed with the best research and full colour-illustrations throughout, this book will appeal to students and readers interested in how news and history are key sources of our rich visual culture. ** Review “These 49 essays are far-ranging and cogent, and shed new and needed light on the visual culture of the news. The essays address topics as varied as technology, style, fashion as news, veracity, the myth of the decisive moment, censorship, and photojournalism as art. Mostly, this work is not about the specific, and sometimes iconic, photographs cited but instead uses the pictures to illustrate larger cultural and professional issues. In "Street Execution of a Viet Cong Prisoner, Saigon, 1968," Robert Hariman and John Louis Locates supply needed background information on Eddie Adams's photograph, but more importantly argue that "the significance of 'Saigon Execution' was not that it represented or misrepresented an execution but that it embodied the moral ambiguity of violence that characterized US involvement in the Vietnam War. Its continued circulation suggests that in more ways than one, the war is not over." Regarding celebrity, Ryan Linkof makes the case that "photojournalism plays an inseparable role in making celebrities, but also works to drag them into a court of public opinion; it is at once a condition of celebrity and a consequence of it." This book is an important and timely addition to the literature of visual media. Summing Up: Highly recommended. All readership levels.” – C. Baker, Baylor University, USA, CHOICE “An immensely rich collection of essays that will change the way that we understand and study the visual culture of the news.” ― Lynda Nead, Birkbeck University of London, UK “The representation of the news in pictures has a complex history that extends from early print-making through the industrial revolution to the contemporary digital device. It is amazing that this is the first book to attempt an in-depth account of this history, which is not just about images, but about editorial practices, technologies, censorship, authenticity, and styles of seeing and showing. Assembling a team of experts on everything from lithography to the laptop, the editors have created an essential scholarly compendium that will have a major impact on the general study of media and visual culture, as well as the specific fields of photography and art history.” ― W. J. T. Mitchell, The University of Chicago, USA “Getting the Picture is a fresh examination of the visual media that bring us the news. Its editors and contributors excel at drawing attention to moments of modernity captured, interpreted, disseminated and undergirded by the visual practices of the popular press. Historically grounded, theoretically informed, stylistically elegant and interpretively challenging, this anthology is an excellent foundational text.” ― Laura Wexler, Yale University, USA About the Author Jason E. Hill Jason E. Hill is a 2014-15 Andrew W. Mellon Foundation Fellow at the New-York Historical Society and was previously the Terra Foundation Postdoctoral Fellow in American Art at the Institut National d'Histoire de l'Art in Paris, France. Vanessa R. Schwartz is Professor of History, Art History and Film at the University of Southern California, where she directs the Visual Studies Research Institute and Graduate Program. She is the author of several books including Spectacular Realities (1998) and It's So French! (2007). Her most recent book project is Jet Age Aesthetics: Media and the Glamour of Motion . Language Arts & Disciplines Photography Photojournalism General History Art Journalism Modern (Late 19th Century to 1945) Contemporary (1945-)

Powerful and often controversial, news pictures promise to make the world at once immediate and knowable. Yet while many great writers and thinkers have evaluated photographs of atrocity and crisis, few have sought to set these images in a broader context by defining the rich and diverse history of news pictures in their many forms. For the first time, this volume defines what counts as a news picture, how pictures are selected and distributed, where they are seen and how we critique and value them. Presenting the best new thinking on this fascinating topic, this book considers the news picture over time, from the dawn of the illustrated press in the nineteenth century, through photojournalism's heyday and the rise of broadcast news and newsreels in the twentieth century and into today's digital platforms. It examines the many kinds of images: sport, fashion, society, celebrity, war, catastrophe and exoticism; and many mediums, including photography, painting, wood engraving, film and video. Packed with the best research and full colour-illustrations throughout, this book will appeal to students and readers interested in how news and history are key sources of our rich visual culture. ** Review “These 49 essays are far-ranging and cogent, and shed new and needed light on the visual culture of the news. The essays address topics as varied as technology, style, fashion as news, veracity, the myth of the decisive moment, censorship, and photojournalism as art. Mostly, this work is not about the specific, and sometimes iconic, photographs cited but instead uses the pictures to illustrate larger cultural and professional issues. In "Street Execution of a Viet Cong Prisoner, Saigon, 1968," Robert Hariman and John Louis Locates supply needed background information on Eddie Adams's photograph, but more importantly argue that "the significance of 'Saigon Execution' was not that it represented or misrepresented an execution but that it embodied the moral ambiguity of violence that characterized US involvement in the Vietnam War. Its continued circulation suggests that in more ways than one, the war is not over." Regarding celebrity, Ryan Linkof makes the case that "photojournalism plays an inseparable role in making celebrities, but also works to drag them into a court of public opinion; it is at once a condition of celebrity and a consequence of it." This book is an important and timely addition to the literature of visual media. Summing Up: Highly recommended. All readership levels.” – C. Baker, Baylor University, USA, CHOICE “An immensely rich collection of essays that will change the way that we understand and study the visual culture of the news.” ― Lynda Nead, Birkbeck University of London, UK “The representation of the news in pictures has a complex history that extends from early print-making through the industrial revolution to the contemporary digital device. It is amazing that this is the first book to attempt an in-depth account of this history, which is not just about images, but about editorial practices, technologies, censorship, authenticity, and styles of seeing and showing. Assembling a team of experts on everything from lithography to the laptop, the editors have created an essential scholarly compendium that will have a major impact on the general study of media and visual culture, as well as the specific fields of photography and art history.” ― W. J. T. Mitchell, The University of Chicago, USA “Getting the Picture is a fresh examination of the visual media that bring us the news. Its editors and contributors excel at drawing attention to moments of modernity captured, interpreted, disseminated and undergirded by the visual practices of the popular press. Historically grounded, theoretically informed, stylistically elegant and interpretively challenging, this anthology is an excellent foundational text.” ― Laura Wexler, Yale University, USA About the Author Jason E. Hill Jason E. Hill is a 2014-15 Andrew W. Mellon Foundation Fellow at the New-York Historical Society and was previously the Terra Foundation Postdoctoral Fellow in American Art at the Institut National d'Histoire de l'Art in Paris, France. Vanessa R. Schwartz is Professor of History, Art History and Film at the University of Southern California, where she directs the Visual Studies Research Institute and Graduate Program. She is the author of several books including Spectacular Realities (1998) and It's So French! (2007). Her most recent book project is Jet Age Aesthetics: Media and the Glamour of Motion . Language Arts & Disciplines Photography Photojournalism General History Art Journalism Modern (Late 19th Century to 1945) Contemporary (1945-) Cover page 1 Halftitle page 2 Image 3 Title page 4 Copyright page 5 CONTENTS 6 ILLUSTRATIONS 11 ACKNOWLEDGMENTS 14 CONTRIBUTORS 15 General Introduction 22 Defining the subject 23 Defining the object 25 Picturing and modernity 26 Notes 30 PART ONE BIG PICTURES 32 Introduction 34 Notes 36 1.1 Dupinade, French Caricature, 1831 37 Notes 39 1.2 General Wool and His Troops in the Streets of Saltillo, 1847 40 Note 42 1.3 An Abolitionist Daguerreotype, New York, 1850 43 Notes 45 1.4 Antietam Sketches and Photographs, 1862 47 Notes 52 1.5 Barricades of Paris Commune, 1871 53 Notes 55 1.6 Interview of Chevreul, France, 1886 * 56 Notes 58 1.7 Zapata and Salinas, Mexico, 1911 and 1991 59 1.8 Photographer on the Western Front, 1917 62 Notes 64 1.9 Sports Photomontage, France, 1926 65 Notes 67 1.10 Public Execution, Sing Sing Prison, 1928 69 Notes 72 1.11 Photo of Kellogg–Briand Pact Meeting, Paris, 1931 73 Notes 75 1.12 A Decisive Moment, France, 1932 76 Notes 78 1.13 Republican Soldier, Spanish Civil War, 1936 80 Notes 82 1.14 Soviet War Photo, Crimea, 1942 83 Notes 86 1.15 Child in Warsaw Ghetto, 1943 87 Notes 89 1.16 Flag-Raising, Iwo Jima, 1945 90 Notes 93 1.17 New York in Color, 1953 94 Notes 96 1.18 Rosa Parks Fingerprinted, Montgomery, Alabama, 1956 97 Notes 99 1.19 An Essay on Successin the USA, 1962 100 Note 102 1.20 Burning Monk, Saigon, 1963 103 Notes 105 1.21 Kennedy Assassination, Dallas, 1963 106 1.22 Political Persecution, Red Square, Harbin, 1966 109 Notes 111 1.23 Street Execution of a Viet Cong Prisoner, Saigon, 1968 112 Notes 114 1.24 Industrial Poisoning, Minamata, 1972 115 Notes 116 1.25 Police Beating,Los Angeles, 1992 118 Notes 119 1.26 The Situation Room, Washington, DC, 2011 121 Notes 123 PART TWO RE-THINKING THE HISTORY OF NEWS PICTURES 124 INTRODUCTION 126 Notes 128 News Pictures and Press Genres 129 2.1 Not Just a Pretty Picture: Fashion as News 130 The rise of fashion news 133 The expanding audience for fashion news 134 Fashion as international news—Paris asfashion capital 135 Photography and the fashion news picture 135 Notes 136 2.2 Celebrity Photos and Stolen Moments 137 The rhetoric of the stolen image 139 The tabloids and the stolen image 140 Notes 142 2.3 Pictorial Press Reportageand Censorship in the First World War 144 Notes 150 2.4 Illustrating Sports, or the Invention of the Magazine* 152 Notes 158 2.5 After the Event: The Challenges of Crime Photography 160 Notes 165 News Picture Media 166 2.6 News Pictures in the Early Years of Mass Visual Culture in New York: Lithographs and the Penny Press 167 The great New York fire of 1835 167 Picturing a sex murder 170 Currier’s awful conflagration 171 Notes 174 2.7 Beautiful Contradictions: News Pictures and Modern Magazines 175 Notes 181 2.8 “Public Forum of the Screen”: Modernity, Mobility, and Debate at the Newsreel Cinema 182 Notes 187 2.9 “See it Now”: Television News 189 Notes 195 2.10 Collective Self-Representation and the News: Torture at Abu Ghraib 197 Notes 200 News Picture Time 202 2.11 Adrift: The Time and Space of the News in Géricault’s Le Radeau de La Méduse 203 Notes 209 2.12 Snap-Shot:After Bullet Hit Gaynor 211 Notes 216 2.13 Rotogravure and the Modern Aesthetic of News Reporting 218 Photography and photogravure 219 Designing for the rotating copper cylinder 221 The news photograph and rotogravure 222 Notes 225 2.14 A Short History of Wire Service Photography 227 Notes 231 Speaking of News Pictures 233 2.15 “Famished for News Pictures”: Mason Jackson, The Illustrated London News and the Pictorial Spirit 234 Notes 240 2.16 Capturing Scandal: Picturing the Sultan’s Harem in Turn-of-the-Century Morocco 242 Notes 248 2.17 Never Alone: Photo Editing and Collaboration 249 Notes 255 2.18 Look at those Lollipops! Integrating Color into News Pictures 257 Color in the news 259 Picturing the news in color 260 Notes 262 News Picture Connoisseurship 265 2.19 Horace Vernet’s Capture of the Smalah : Reportage and Actuality in the Early French Illustrated Press 266 Notes 272 2.20 Hindenburg Disaster Pictures: Awarding a Multifaceted Icon 273 Getting the big picture 275 Notes 279 2.21 An Era of Photographic Controversy: Edward Steichen at the MoMA 280 Notes 285 2.22 Photojournalism: A Formal Paradigm for Contemporary Art* 287 Artistic outcomes 287 Curatorial practices 289 Notes 291 2.23 Uneasy Witnesses:Broomberg, Chanarin, and Photojournalism’s Expanded Field 293 Notes 299 SELECTED BIBLIOGRAPHY 301 INDEX 310

Casting aside the traditional conception of film as an outgrowth of photography, theater, and the novel, the essays in this volume reassess the relationship between the emergence of film and the broader culture of modernity. Contributors, leading scholars in film and cultural studies, link the popularity of cinema in the late nineteenth century to emerging cultural phenomena such as window shopping, mail-order catalogs, and wax museums.This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1996.Casting aside the traditional conception of film as an outgrowth of photography, theater, and the novel, the essays in this volume reassess the relationship between the emergence of film and the broader culture of modernity. Contributors, leading scholars</DIV

"Powerful and often controversial, news pictures promise to make the world at once immediate and knowable. Yet while many great writers and thinkers have evaluated photographs of atrocity and crisis, few have sought to set these images in a broader context by defining the rich and diverse history of news pictures in their many forms. For the first time, this volume defines what counts as a news picture, how pictures are selected and distributed, where they are seen and how we critique and value them. Presenting the best new thinking on this fascinating topic, this book considers the news picture over time, from the dawn of the illustrated press in the nineteenth century, through photojournalism's heyday and the rise of broadcast news and newsreels in the twentieth century and into today's digital platforms. It examines the many kinds of images: sport, fashion, society, celebrity, war, catastrophe and exoticism; and many mediums, including photography, painting, wood engraving, film and video. Packed with the best research and full colour-illustrations throughout, this book will appeal to students and readers interested in how news and history are key sources of our rich visual culture"-- Provided by publisher

"In this valuable and timely anthology, cultural critic and bestselling author Roxane Gay has collected original and previously published pieces that address what it means to live in a world where women have to measure the harassment, violence, and aggression they face, and where they are 'routinely second-guessed, blown off, discredited, denigrated, besmirched, belittled, patronized, mocked, shamed, gaslit, insulted, and bullied' for speaking out. Highlighting the stories of well-known actors, writers, and experts, as well as new voices being published for the first time, Not That Bad covers a wide range of topics and experiences, from an exploration of the rape epidemic embedded in the refugee crisis to first-person accounts of child molestation and street harassment. Often deeply personal and always unflinchingly honest, this provocative collection both reflects the world we live in and offers a call to arms insisting that 'not that bad' must no longer be good enough."--Dust jacket flap.

Asian-Australians have often been written about by outsiders, as outsiders. In this collection, compiled by award-winning author Alice Pung, they tell their own stories with verve, courage and a large dose of humour. Here are tales of leaving home, falling in love, coming out and finding one's feet. A young Cindy Pan vows to win every single category of Nobel Prize. Tony Ayres blows a kiss to a skinhead and lives to tell the tale. Benjamin Law has a close encounter with some angry Australian fauna, and Kylie Kwong makes a moving pilgrimage to her great-grandfather's Chinese village. Here are well-known authors and exciting new voices, spanning several generations and drawn from all over Australia. In sharing their stories, they show us what it is really like to grow up Asian, and Australian. Including: Shaun Tan, Jenny Kee, Annette Shun Wah, Anh Do, Khoa Do, John So, Simone Lazaroo, Christopher Cyrill, Jason Yat-Sen Li, Sunil Badami, Quan Yeomans, Caroline Tran, Tom Cho, Vanessa Woods and many more

Each of the five volumes in the Stone Art Theory Institutes series brings together a range of scholars who are not always directly familiar with one another’s work. The outcome of each of these convergences is an extensive and “unpredictable conversation” on knotty and provocative issues about art. This fifth and final volume in the series focuses on the identity, nature, and future of visual studies, discussing critical questions about its history, objects, and methods. The contributors question the canon of literature of visual studies and the place of visual studies with relation to theories of vision, visuality, epistemology, politics, and art history, giving voice to a variety of inter- and transdisciplinary perspectives. Rather than dismissing visual studies, as its provocative title might suggest, this volume aims to engage a critical discussion of the state of visual studies today, how it might move forward, and what it might leave behind to evolve in productive ways. The contributors are Emmanuel Alloa, Nell Andrew, Linda Báez Rubí, Martin A. Berger, Hans Dam Christensen, Isabelle Decobecq, Bernhard J. Dotzler, Johanna Drucker, James Elkins, Michele Emmer, Yolaine Escande, Gustav Frank, Theodore Gracyk, Asbjørn Grønstad, Stephan Günzel, Charles W. Haxthausen, Miguel Á. Hernández-Navarro, Tom Holert, Kıvanç Kılınç, Charlotte Klonk, Tirza True Latimer, Mark Linder, Sunil Manghani, Anna Notaro, Julia Orell, Mark Reinhardt, Vanessa R. Schwartz, Bernd Stiegler, Øyvind Vågnes, Sjoukje van der Meulen, Terri Weissman, Lisa Zaher, and Marta Zarzycka.

Casting aside the traditional conception of film as an outgrowth of photography, theater, and the novel, the essays in this volume reassess the relationship between the emergence of film and the broader culture of modernity. Contributors, leading scholars in film and cultural studies, link the popularity of cinema in the late nineteenth century to emerging cultural phenomena such as window shopping, mail-order catalogs, and wax museums.This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1996.Casting aside the traditional conception of film as an outgrowth of photography, theater, and the novel, the essays in this volume reassess the relationship between the emergence of film and the broader culture of modernity. Contributors, leading scholars</DIV

Casting aside the traditional conception of film as an outgrowth of photography, theater, and the novel, the essays in this volume reassess the relationship between the emergence of film and the broader culture of modernity. Contributors, leading scholars in film and cultural studies, link the popularity of cinema in the late nineteenth century to emerging cultural phenomena such as window shopping, mail-order catalogs, and wax museums.This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1996.Casting aside the traditional conception of film as an outgrowth of photography, theater, and the novel, the essays in this volume reassess the relationship between the emergence of film and the broader culture of modernity. Contributors, leading scholars</DIV

"In this key text in the history of art and aesthetics, Karl Rosenkranz shows ugliness to be the negation of beauty without being reducible to evil, materiality, or other negative terms used it's conventional condemnation. This insistence on the specificity of ugliness, and on its dynamic status as a process afflicting aesthetic canons, reflects Rosenkranz's interest in the metropolis - like Walter Benjamin, he wrote on Paris and Berlin - and his voracious collecting of caricature and popular prints. Rosenkranz, living and teaching, like Kant, in remote Königsberg, reflects on phenomena of modern urban life from a distance that results in critical illumination. The struggle with modernization and idealist aesthetics makes Aesthetics of Ugliness, published four years before Baudelaire's Fleurs du Mal, hugely relevant to modernist experiment as well as to the twenty-first century theoretical revival of beauty. Translated into English for the first time, Aesthetics of Ugliness is an indispensable work for scholars and students of modern aesthetics and modernist art, literary studies and cultural theory, which fundamentally reworks conceptual understandings of what it means for a thing to be ugly."--Bloomsbury Publishing.

"In this valuable and timely anthology, cultural critic and bestselling author Roxane Gay has collected original and previously published pieces that address what it means to live in a world where women have to measure the harassment, violence, and aggression they face, and where they are 'routinely second-guessed, blown off, discredited, denigrated, besmirched, belittled, patronized, mocked, shamed, gaslit, insulted, and bullied' for speaking out. Highlighting the stories of well-known actors, writers, and experts, as well as new voices being published for the first time, Not That Bad covers a wide range of topics and experiences, from an exploration of the rape epidemic embedded in the refugee crisis to first-person accounts of child molestation and street harassment. Often deeply personal and always unflinchingly honest, this provocative collection both reflects the world we live in and offers a call to arms insisting that 'not that bad' must no longer be good enough."--Dust jacket flap.

Each of the five volumes in the Stone Art Theory Institutes series brings together a range of scholars who are not always directly familiar with one another's work. The outcome of each of these convergences is an extensive and "unpredictable conversation" on knotty and provocative issues about art. This fifth and final volume in the series focuses on the identity, nature, and future of visual studies, discussing critical questions about its history, objects, and methods. The contributors question the canon of literature of visual studies and the place of visual studies with relation to theories of vision, visuality, epistemology, politics, and art history, giving voice to a variety of inter- and transdisciplinary perspectives. Rather than dismissing visual studies, as its provocative title might suggest, this volume aims to engage a critical discussion of the state of visual studies today, how it might move forward, and what it might leave behind to evolve in productive ways. The contributors are Emmanuel Alloa, Nell Andrew, Linda Báez Rubí, Martin A. Berger, Hans Dam Christensen, Isabelle Decobecq, Bernhard J. Dotzler, Johanna Drucker, James Elkins, Michele Emmer, Yolaine Escande, Gustav Frank, Theodore Gracyk, Asbjørn Grønstad, Stephan Günzel, Charles W. Haxthausen, Miguel Á. Hernández-Navarro, Tom Holert, Kıvanç Kılınç, Charlotte Klonk, Tirza True Latimer, Mark Linder, Sunil Manghani, Anna Notaro, Julia Orell, Mark Reinhardt, Vanessa R. Schwartz, Bernd Stiegler, Øyvind Vågnes, Sjoukje van der Meulen, Terri Weissman, Lisa Zaher, and Marta Zarzycka.

A Transdisciplinary Collection Of Essays Discussing The Identity, Nature, And Future Of Visual Studies As A Laboratory For Thinking About Relations Between Fields Including Art History, Cultural Studies, Sociology, Visual Anthropology, Film Studies, Media Studies, Postcolonial Studies, Philosophy Of History, The Science Of Vision, And Science Studies--provided By Publisher. Each Of The Five Volumes In The Stone Art Theory Institutes Series, And The Seminars On Which They Are Based, Brings Together A Range Of Scholars Who Are Not Always Directly Familiar With One Another's Work. The Outcome Of Each Of These Convergences Is An Extensive And Unpredictable Conversation On Knotty And Provocative Issues About Art. This Fifth And Final Volume In The Series Focuses On The Identity, Nature, And Future Of Visual Studies, Discussing Critical Questions About Its History, Objects, And Methods. In The Seminars And Assessments, The Contributors Question The Canon Of Literature Of Visual Studies And The Place Of Visual Studies With Relation To Theories Of Vision, Visuality, Epistemology, Politics, And Art History, Giving Voice To A Variety Of Inter- And Transdisciplinary Perspectives. Rather Than Dismissing Visual Studies, As Its Provocative Title Might Suggest, This Volume Aims To Engage A Critical Discussion Of The State Of Visual Studies Today, How It Might Move Forward, And What It Might Leave Behind To Evolve In Productive Ways. -- Publisher's Description First Introduction : Starting Points / James Elkins -- Second Introduction : Affect, Agency, And Aporia: An Indiscipline With Endemic Ambivalences And A Lack Of Pictures / Gustav Frank -- Third Introduction : Visual Studies, Or, This Is Not A Diagram -- Histories : Visuelle Kultur -- Histories : Anglo-american Visual Studies, 1989-1999 -- Histories : 2000-2010 -- Histories : The Present Decade -- Histories : Bildwissenschaft -- Image, Meaning, And Power -- A General Theory Of Visual Culture -- The Political -- Science Studies -- The Place Of The Image -- Envoi -- Assessments. Edited By James Elkins, Sunil Manghani, And Gustav Frank. The Contributors Are Emmanuel Alloa, Nell Andrew, Linda Báez Rubí, Martin A. Berger, Hans Dam Christensen, Isabelle Decobecq, Bernhard J. Dotzler, Johanna Drucker, James Elkins, Michele Emmer, Yolaine Escande, Gustav Frank, Theodore Gracyk, Asbjørn Grønstad, Stephan Günzel, Charles W. Haxthausen, Miguel Á. Hernández-navarro, Tom Holert, Kıvanç Kılınç, Charlotte Klonk, Tirza True Latimer, Mark Linder, Sunil Manghani, Anna Notaro, Julia Orell, Mark Reinhardt, Vanessa R. Schwartz, Bernd Stiegler, Øyvind Vågnes, Sjoukje Van Der Meulen, Terri Weissman, Lisa Zaher, And Marta Zarzycka. Includes Bibliographical References And Index.

A Transdisciplinary Collection Of Essays Discussing The Identity, Nature, And Future Of Visual Studies As A Laboratory For Thinking About Relations Between Fields Including Art History, Cultural Studies, Sociology, Visual Anthropology, Film Studies, Media Studies, Postcolonial Studies, Philosophy Of History, The Science Of Vision, And Science Studies--provided By Publisher. Each Of The Five Volumes In The Stone Art Theory Institutes Series, And The Seminars On Which They Are Based, Brings Together A Range Of Scholars Who Are Not Always Directly Familiar With One Another's Work. The Outcome Of Each Of These Convergences Is An Extensive And Unpredictable Conversation On Knotty And Provocative Issues About Art. This Fifth And Final Volume In The Series Focuses On The Identity, Nature, And Future Of Visual Studies, Discussing Critical Questions About Its History, Objects, And Methods. In The Seminars And Assessments, The Contributors Question The Canon Of Literature Of Visual Studies And The Place Of Visual Studies With Relation To Theories Of Vision, Visuality, Epistemology, Politics, And Art History, Giving Voice To A Variety Of Inter- And Transdisciplinary Perspectives. Rather Than Dismissing Visual Studies, As Its Provocative Title Might Suggest, This Volume Aims To Engage A Critical Discussion Of The State Of Visual Studies Today, How It Might Move Forward, And What It Might Leave Behind To Evolve In Productive Ways. -- Publisher's Description First Introduction : Starting Points / James Elkins -- Second Introduction : Affect, Agency, And Aporia: An Indiscipline With Endemic Ambivalences And A Lack Of Pictures / Gustav Frank -- Third Introduction : Visual Studies, Or, This Is Not A Diagram -- Histories : Visuelle Kultur -- Histories : Anglo-american Visual Studies, 1989-1999 -- Histories : 2000-2010 -- Histories : The Present Decade -- Histories : Bildwissenschaft -- Image, Meaning, And Power -- A General Theory Of Visual Culture -- The Political -- Science Studies -- The Place Of The Image -- Envoi -- Assessments. Edited By James Elkins, Sunil Manghani, And Gustav Frank. The Contributors Are Emmanuel Alloa, Nell Andrew, Linda Báez Rubí, Martin A. Berger, Hans Dam Christensen, Isabelle Decobecq, Bernhard J. Dotzler, Johanna Drucker, James Elkins, Michele Emmer, Yolaine Escande, Gustav Frank, Theodore Gracyk, Asbjørn Grønstad, Stephan Günzel, Charles W. Haxthausen, Miguel Á. Hernández-navarro, Tom Holert, Kıvanç Kılınç, Charlotte Klonk, Tirza True Latimer, Mark Linder, Sunil Manghani, Anna Notaro, Julia Orell, Mark Reinhardt, Vanessa R. Schwartz, Bernd Stiegler, Øyvind Vågnes, Sjoukje Van Der Meulen, Terri Weissman, Lisa Zaher, And Marta Zarzycka. Includes Bibliographical References And Index.

Chapter 1The French Revolution, politics, and the modern nation 29 Chapter 2French and the civilizing mission 54 Chapter 3Paris and magnetic appeal 75 Chapter 4France stirs up the melting pot 101 Chapter 5France hurtles into the future 120 List of illustrations 19 Introduction 20 Conclusion 140 References 143 Further reading 145 Index 152 1. Jean-Jacques le Barbier, Declaration des droits de l’homme et du citoyen, 1789 34 2. Eugène Appert, Commune photomontage, 1871 49 3. Dreyfus affair cartoon by Caran d’Ache, 1898 72 4. Inauguration of the Paris Opéra, published between 1890 and 1900 in Views of Architecture, Monu 78 5. Moulin Rouge (La Goulue), poster by Henri de Toulouse-Lautrec, 1891 81 6. La Parisienne, at the entrance to the Exposition of 1900, Paris 83 7. Moroccan Café on Cairo Street, Universal Exposition of 1889, Paris 83 8. The Gaumont Palace Cinema, Place de Clichy, Paris, 1911 90 9. French soccer team, July 12, 1998, the Stade de France 101 10. Pompidou Center 131 Chapter 1The French Revolution, politics, and the modern nation 29 Chapter 2French and the civilizing mission 54 Chapter 3Paris and magnetic appeal 75 Chapter 4France stirs up the melting pot 101 Chapter 5France hurtles into the future 120 List of illustrations 19 Introduction 20 Conclusion 140 References 143 Further reading 145 Index 152 1. Jean-Jacques le Barbier, Declaration des droits de l鈥檋omme et du citoyen, 1789 34 2. Eug猫ne Appert, Commune photomontage, 1871 49 3. Dreyfus affair cartoon by Caran d鈥橝che, 1898 72 4. Inauguration of the Paris Op茅ra, published between 1890 and 1900 in Views of Architecture, Monu 78 5. Moulin Rouge (La Goulue), poster by Henri de Toulouse-Lautrec, 1891 81 6. La Parisienne, at the entrance to the Exposition of 1900, Paris 83 7. Moroccan Caf茅 on Cairo Street, Universal Exposition of 1889, Paris 83 8. The Gaumont Palace Cinema, Place de Clichy, Paris, 1911 90 9. French soccer team, July 12, 1998, the Stade de France 101 10. Pompidou Center 131 (as-gbk-encoding)