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Here is that part of the image itself in some ways is without inherent meaning, some ways the photograph itself needs to be coded through captions, through the sort of articles next to it, through many other ideas like the readers own political persuasion. The image becomes largely meaningless until it becomes coded by the surrounding areas. In some ways, the image without a code needs a code, the context for understanding its meaning. So talks about the paradox of photography and particularly of press photography. The ways that constructed intentional meaning, the things that have opinions or political leanings, can seem natural and pregiven, thanks to the index of photography. Reminding what it means. Of course, you know, thinking back to our photograph right here. We know that there was a corpse hanging from a tree. Light reflects that body on to photographic film and we know that it was there. That idea of truth value, that factual quality of photography. In some ways makes the con ....
In the spring of 1915, almost a year into world war i, american journalists world virulence cinematographer guy reads love chicago bound for berlin, germany. They traveled with the german army to the front lines, in east pressure and poland. They shot 25,000 feet a film, about five and a half hours. They returned to the United States in december of 1915, and in november released a 108 feature film on the firing line with the germans. The film received positive reviews and screened widely in the United States despite the fact that a presented a favorable view of the germans. Up next learn about how the once lost film was this discovered and restore by the labor of congress. Then watch the entire film. With commentary by two scholars who helped reassemble a movie that or become a jigsaw puzzle of fragments. This program is about two hours. My name is cooper graham. At the moment ....
Tv, Wake Forest UniversityProfessor John curley teaches a class on how the cold war infliei influenced and was influenced by photography. This is about an hour ten minutes. So last time we were talking about world war ii photography and the ways that photographers interacted with the cwar. We ended looking at this image last year. The Mushroom Cloud that emerged after the dropping of the atomic bomb on nagasaki. This image, of course, marks the end of world war ii. In many ways it marks the beginning of the cold war. Of course, nuclear dread and Nuclear Anxiety hovered over the conflict during the 1950s and 1960s and up through the 1980s to the end of the conflict. Its a fitting image to begin our class today. We will think a lot about photography during t ....
War. Of course, nuclear dread and Nuclear Anxiety sort of hovered over the conflict in the 1950s and 1960s and even up through the 1980s to the end of the conflict. So its a fitting image to begin our class today. And today, we are thinking a lot about photography during the cold war. And specifically american photography during the cold war. And this is a massive topic one could imagine a week or two, even an entire course of this subject. General themes as well as case studies, and also in the meantime, along the way, talk about some advances in Media Technology and how newspapers were printing photographs during these years. Before we kind of get into photography, we should make sure we understand what the cold war is. As we get further and further removed from it, it becomes a little more fuzzy in the collective unconscious. But of course, the cold war was the idealogi ....