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Damien Parer is one of the official Second World War photographers and cameramen of the Australian Department of Information (DoI). Parer is remembered for his superb footage of soldiers in action and his ability to be on the right ridge to capture shots when bombs and shells were falling. Although his work was widely used in the form of newsreels or stills in Australian cinemas, newspapers and magazines, far less attention is given to his writings. A product of his time, Parer carried in his work practices of intellectual and artistic activity and personal emotions, beliefs and values. This article uses Parer’s personal published and un-published material to explore his account of the highs and lows of the war abroad, his rapport with and admiration for the Australian Imperial Force (AIF) infantry men he filmed, and his conviction that a war photographer’s place was with the frontline troops. Through his first experience of bombing of civilian populations in the town of Ellason in Greece to the Middle Eastern desert and the jungle war in New Guinea, Parer remained faithful to his mission: to provide, as an official war photographer/cameraman, a record of the Australians at war as dictated by DoI, and through his writings, his own views on war cinematography and photography. This article argues that the relationship between Parer’s writing and imagery, initially relying on the traditional war rhetoric, transforms through his personal frontline war experience that blurs the line between life and death and intensifies his admiration for the resilient and resolute Australian troops.

Based on traditional peace communication scholarship, this study, embedded in journalism studies and visual politics literature, analyzes photographs of conflict using war and peace frames and explores the role social media can play in digital peacebuilding practices. A content analysis of 674 visuals of the second deadliest terrorist attack in Pakistan posted on Twitter revealed the dominance of war photographs. The majority of the visual tweets were related to the afflicted victims and the visiting elites. Our analysis revealed that the visual narrative predominantly adopted a war approach. Results also showed significant variations in the war and peace narrative over time. Overall, this study challenges the views of peace journalism scholars that social media would lead to a more peace-oriented approach. We argue that peace narratives may be difficult to occur on digital platforms in securitized national conflicts where elites and a dominant public opinion oppose alternative perspectives. [ABSTRACT FROM AUTHOR]

Copyright of Documentación de las Ciencias de la Información is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Pauta Geral is the property of Revista Pauta Geral and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

War photographs speak of war through stories. Stories of people they depict, usually during the most painful situations of their lives. Thanks to these photographs, we are able to learn about the suffering of others. However, few people know those standing behind the lens, risking their lives and health, so they could tell us these stories. This article focuses on the influence of war photography on photographers’ mental health. It wants to point out the relevance of war photography, which is important even today (especially in relation to the war in Ukraine, i.e., affecting us deeply), and learn about the inner world of photojournalists and their perception of their work. The article addresses the issue of the psychological effect of war photography on its authors. The objective is to demonstrate the psychological impacts of war photography and map its consequences. The article points out the development of war photography in the world and in Slovakia; it also refers to the pioneers of this field. The issue of psychological impacts of war photography, its origins and contribution, the ethical code of media pictures, as well as current perception of war photography are all analysed. The study further addresses the topical conflict in Ukraine and the work of photojournalists that have spent several days there risking their lives to bring us a visual testimony directly from the battlefront. It is also worth mentioning that at the time of writing this paper, i.e., at the beginning of April 2022, 12 journalists have been confirmed dead.

Copyright of Revista Fotocinema is the property of Revista Fotocinema and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

During World War I the soldiers' life at and behind the frontline was captured by personal photography. While heavily regulated and censored on the allied side, conditions were more relaxed for German soldiers, and for German officers, in particular. Drawing on a large sample set of images of the same subject matter, a French church bell with a patriotic, anti-German inscription, this paper surveys the private production of picture postcards by German soldiers. Initially photographed by a range of individuals, some images were eventually produced as printed lithographed postcards by regional German publishers. The processes and limitations of the personal versus commercial production of picture postcards are discussed. [ABSTRACT FROM AUTHOR]

This article explores the five-year career of French photojournalist Gilles Caron (1939-1970), who produced iconic photographs of major events such as the Six-Day and the Vietnam war at the end of the 1960s. Caron developed an art of portraiture applied to news topics, which became his trademark. This personal "style" and his critical approach towards journalism were emphasized posthumously to distinguish him from his peers and promote him to the status of an artist. But these specificities were an integral part of his practice as a photojournalist, and only demonstrate that if Caron produced an oeuvre, it was within the realm of his profession. This article retraces the development of his approach and its success in the illustrated press; it then analyzes his reflexive stance towards image making, as evidenced in his tribute to the techniques of film when he worked on movie sets and in the ethical questions raised by his coverage of the Biafra war. Drawing on his archives - press prints, contact sheets and publications that were extensively digitized by his foundation, it offers an overview of the production of this well-known figure of post-war photography. [ABSTRACT FROM AUTHOR]

From the moment of its publication in 1972, the prize-winning photograph "Napalm Girl/Terror of War" was recognized as newsworthy because it exemplified contemporary news values. It has since acquired legendary status as the defining image of the Vietnam War. Scholarly analyses have focused on the impact of the photograph on audiences as well as the moral imperatives of the image. However, the ethical complexities of the image's implications have not been adequately explored. In this article, I analyze the photo's implications for the subject of the photograph, Kim Phúc Phan Thi, the photographer Nick Ut, and the dynamics of power at work in the representation of the young girl's embodied vulnerability. I argue that conventional news values elide these issues, and I call for incorporating a feminist ethics of care into photojournalistic decisionmaking that would engage and contextualize the interrelationships of photographer, subject, image, and audience, with a view to recognizing the identity positions and distributions of power at work in news photographs of embodied vulnerability. [ABSTRACT FROM AUTHOR]

This paper analyzes the role of the viewers of photographs of violence. The main argument is that due to the characteristic of the medium, both the photographer and the photographed subjects shape the image. The customary overlooking of the photographed subjects' agency is conceptualized as epistemic injustice first committed by the photographer and then by the viewer. A method of interpreting war photographs influenced by critical fabulation and listening to images is proposed to overcome it. [ABSTRACT FROM AUTHOR]

Copyright of Grafica: Journal of Graphic Design / Documents de Disseny Gràfic is the property of Universitat Autonoma de Barcelona and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In year 1917 the Russian war effort was heavily affected by the outbreak of the revolution(s) and the events that followed. Having lost faith in their own commanders, the common Russian soldier has become especially vulnerable to anti-war propaganda. Thus the spontaneous cases of ceasefire and peaceful meetings with enemy soldiers on no man's land have become common, Such events were frequently documented by photographers present on site, and their works allows us to take a better, almost first-hand look at these unusual wartime activities. The double perspective of such images (propaganda- and commemorative one) allows us to take an unique view on the last stage of the Great War on East.

Photographer Felice Beato (1832-1909) was a pioneer of souvenir photography, a genre of photography that depicted foreign cultures for an unfamiliar audience. A type of photography that was popular in the 19th century, particularly in Japan, souvenir photography was created to export images of foreign cultures to people in the West. This article explores the historical implications of souvenir photography, the influence of Felice Beato on the genre, and how he represented Asian culture to people in the West. Beato's work in Japan, China, and India allowed him to experiment with different types of photography, such as architectural, panoramic, and war photography. His photography was characterized by the use of panoramic and colorization techniques, which allowed him to capture the essence of the places he visited. His work contributed significantly to the emergence of souvenir photography as a genre, and his ability to convey the beauty of his subjects was widely recognized. Beato's photography brought a part of Asian culture to the western population, and his images often portrayed what the westerns perceived as the exoticism of these cultures. [ABSTRACT FROM AUTHOR]

The purpose of this study is to examine the key features of the visualization of the First World War on the front pages of Kyiv's socio-political newspapers between 1914 and 1917. The methodology employed the principles of historicism, systematicity, science, and comprehensiveness, as well as historical-comparative, and retrospective methods. Additionally, the study utilized the interdisciplinary method of content analysis to examine a number of previously-unpublished visual sources. The results of the study showed that the visual representation of the World War I events comprised of two groups of images: illustrations and photographs. The illustrations were dominated by satirical graphics and materials of ideological and symbolic nature, creating a negative image of the enemy. Some images highlighted the socio-economic problems, including the military loan. Most of the photographs published in the press were portraits of the tsarist family, army heads, and political leaders of the allied states. Some photographs depicted social and domestic issues and had an agitational, propaganda, and patriotic character. The findings indicate that the visual materials, compared to text-based content, played a secondary role and served only as background to attract the reader's attention and increase their interest in specific aspects of the war. Overall, the content of the publications of that time suggests that the visual materials were used to supplement and enhance the text, but did not play a leading role in conveying the events of the First World War. [ABSTRACT FROM AUTHOR]

Copyright of Historia y Sociedad (01218417) is the property of Universidad Nacional de Colombia, Facultad de Ciencias Humanas y Economicas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Historia y Comunicación Social is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Tempo e Argumento is the property of Universidade do Estado de Santa Catarina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Fotocinema is the property of Revista Fotocinema and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this article I focus on three aspects of the digitisation of photographic collections which I have had the opportunity to deal with professionally in two museums, in the UK and Poland. In 2014, the Imperial War Museum in London (IMW) implemented an online project of the portal/monument, Lives of the First World War, commemorating all citizens of the British Commonwealth who took part in the First World War (WWI), both in uniform and in civil services. Users registered on the portal could attach documents, photographs, reports to each commemorated soldier-keyword, thus expanding the database. One of the key elements of the project was a collection of portrait photographs bearing the title Bond of Sacrifice. These comprised over 16,000 photographs of soldiers of the British Commonwealth, handed over to the Museum by their families in the years 1917-1919. After nearly a hundred years, the Museum decided to comprehensively develop, digitize, and make the collection available in the form of an online catalogue. In the meantime, the Museum digitised a huge collection of WWI photographs, the so-called Q Series (ca. 115,000), the most important part of which was British official photography. By 2016, the entire collection was scanned and made available in an external catalogue of the Museum on the basis of a non-commercial license. Since then, the photographs have taken on a life of their own: they are used in academic works, press articles, TV productions, and in social medias. The second project includes numerous photographs of the Polish Armed Forces. This phenomenon is dealt with in the second part of this paper, which discusses the online photographic collection of the Silesian Museum in Katowice. The third and final part of this article is devoted to the impact of digitization and on-line accessibility on the making of temporary exhibitions. This is explained using the example of the author's last exhibition at the museum about women in industry; based entirely on digital reproductions of photographs from the collections of many museums from Europe and the U.S., amongst others the US National Archives and the IWM. This is due to the fact that the author selected the entire material with the use of online catalogues of these very institutions. [ABSTRACT FROM AUTHOR]

Copyright of Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The collective insights of these diverse essays make a significant contribution to understanding Civil War memory, and the individual essays provide intriguing analyses of a host of things ignored in earlier studies. Buying and Selling Civil War Memory in Gilded Age America Edited by James Marten and Caroline E. Janney (Athens: University of Georgia Press, 2021. Clothbound, $114.95; paperback, $36.95.) Anyone interested in how Americans thought about the Civil War in the late nineteenth century, even those familiar with the vast scholarship on Civil War memory, will find much that they did not know in Buying and Selling Civil War Memory in Gilded Age America. [Extracted from the article]

War photographs speak of war through stories. Stories of people they depict, usually during the most painful situations of their lives. Thanks to these photographs, we are able to learn about the suffering of others. However, few people know those standing behind the lens, risking their lives and health, so they could tell us these stories. This article focuses on the influence of war photography on photographers' mental health. It wants to point out the relevance of war photography, which is important even today (especially in relation to the war in Ukraine, i.e., affecting us deeply), and learn about the inner world of photojournalists and their perception of their work. The article addresses the issue of the psychological effect of war photography on its authors. The objective is to demonstrate the psychological impacts of war photography and map its consequences. The article points out the development of war photography in the world and in Slovakia; it also refers to the pioneers of this field. The issue of psychological impacts of war photography, its origins and contribution, the ethical code of media pictures, as well as current perception of war photography are all analysed. The study further addresses the topical conflict in Ukraine and the work of photojournalists that have spent several days there risking their lives to bring us a visual testimony directly from the battlefront. It is also worth mentioning that at the time of writing this paper, i.e., at the beginning of April 2022, 12 journalists have been confirmed dead. [ABSTRACT FROM AUTHOR]

With ongoing war in the Donbas, war narratives and war images saturate public media in Ukraine, the discourse contaminated by ideological remnants of the Soviet World War II cult and by fake news. Art that deals with war wounds can subvert the familiar visual language of war propaganda, where the suffering of victims is a mere pretext for touting the inevitable triumph of the heroes. Currently in Ukraine, the most prolific art in this regard is produced by women-artists who address the trauma of war through painting and installations that offer highly personalized accounts. Often touching upon extreme circumstances, their art is about tolerance, both in terms of endurance and of the mutual understanding necessary for cohabitation. Alevtyna (Alevtina) Kakhidze's ongoing performance creates an opportunity to comprehend the war in the Donbas from multiple perspectives, including that of a gardener. She associates the tending of plants with her mother who died on occupied territory, refusing to leave her garden. Mariia (Maria) Kulikovs'ka's sculptures serve as shooting targets for separatists in the occupied centre of contemporary art in Donetsk. Vlada Ralko's paintings of tortured bodies become a metaphor for scars garnered by a war that remains close to home. Paintings and sculptures by Maryna Skuharieva (Skugareva) and Anna Zviahintseva (Zvyagintseva) address the ruin of representation inflicted by war, and the conceptual performance by Liia (Lia) Dostlieva and Andrii Dostliev contemplates the healing process of war wounds. Neither making spectacle from the "pain of others" nor deeming it unrepresentable, this art seeks emphatic alternatives to traditional war narratives. [ABSTRACT FROM AUTHOR]

Copyright of Studia Ethnologica Croatica is the property of Studia Ethnologica Croatica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cognitio - Revista de Filosofia is the property of Cognitio - Revista de Filosofia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article begins and ends in the question of seeing beyond a mere representation. Drawing on the history of image representations of war, I ask what we can see in images that show very little. The question of seeing stems from Georges Didi-Huberman’s contemplation on the bark from Birkenau and I suggest that his view on seeing could be employed in a wider context. I argue that an alternative view of representations of war and suffering is possible when the motif does not show much since images are far more complex than a superficial deciphering reveals. [ABSTRACT FROM AUTHOR]

In international conflict correspondence safety mechanisms are unequally employed to protect local news-staffs in contrast to international staffs. Arguably, this has had the greatest impact on image production from war zones, exposing local photojournalists to increased dangers. But it also raises the possibility that local photographers from conflict-torn countries may represent conflicts to international audiences differently than do international photographers. This possibility is explored in this study using the case of Afghanistan. Based on photojournalists’ perceptions and comparisons of international and locally produced images, we explore potential effects of the shifting reliance on local rather than international photojournalists on how distant wars come to be pictured to international audiences. This study advances an argument for giving increased protection to local photojournalists in conflict zones.

In the study of 19th-century Latin American photography, the photographic capture of war and military operations has implicitly been equated with the eye of national states, understanding that photographers would want to show a positive portrayal of the military forces. However, war photography as a language of state power was not the point of departure. In most of the earlier examples of war photography, it was private photographers who first ventured into military conflicts almost as soon as the new visual technology was made available. They saw war as both an important historical event and a commercial opportunity. Experiencing with a technology that forced them to produce images of war stripped of battle action while trying to capitalize on the diverse interests in these conflicts, most photographers offered a rendering of war of ambiguous political meanings. In this essay, I argue that the photographs of the War of the Pacific taken by the studio Díaz & Spencer are one of the first examples of the successful use of war photography for nation-building purposes, that is, as national propaganda. Photographers had the challenge to create impressive, apologetic and heroic captures of the military forces, and Díaz & Spencer succeeded in creating a visual narrative congruent with Chilean official discourses, consolidating, rather than challenging, the Chilean state view of the war. Equally important, this allignment of political views was accomplished on account of Díaz and Spencer’s initiative—not that of Chilean state officials.

At the outset of the Spanish Civil War, Ireland's ruling party were faced with the challenge of maintaining political hegemony. Revealing the old fault lines of the Irish Civil War, the opposition cast the government's Non-intervention policy as pro-Communist and anti-Catholic; a refusal to support Spanish insurgents in what was perceived by the majority as their defence of the Catholic faith. Following McNally, this paper utilises Gramsci's theory of hegemony to explore political equilibrium in the contexts of the Irish and Spanish conflicts. The notion of the "organic intellectual" enables a Gramscian reading of war photography, finding common visual language in the works of Robert Capa and W.D. Hogan as they contributed to national and transnational projects of hegemony. Through such a reading, the author finds cultural compatibility between the conflicts and casts the Irish revolutionary period in new international light. [ABSTRACT FROM AUTHOR]

In this article I argue that, like textiles, photography can be a way to "stitch voices" together. The article is based on an interview with the photographer Ian Alderman and a review of his travelling exhibition Recovering the past. In his photographs, Alderman superimposes black and white images of groups of Australian soldiers who fought during the Great War, and colour images of contemporary deminers during their daily work in the fields of West Flanders. As with conflict textiles, Alderman's photographic "collages" create objects that draw attention to the immediate and long-term consequences of war. Because of this focus on the effects of war, his photographs can be considered as 'aftermath photography' (Möller, 2016). This article first introduces commonalities between photography and textiles. Then, it presents some of the exhibition photographs, connecting them with audience responses and themes that emerged from the interview. [ABSTRACT FROM AUTHOR]

Copyright of Revista Fotocinema is the property of Revista Fotocinema and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this article I argue that, like textiles, photography can be a way to "stitch voices" together. The article is based on an interview with the photographer Ian Alderman and a review of his travelling exhibition Recovering the past. In his photographs, Alderman superimposes black and white images of groups of Australian soldiers who fought during the Great War, and colour images of contemporary deminers during their daily work in the fields of West Flanders. As with conflict textiles, Alderman's photographic "collages" create objects that draw attention to the immediate and long-term consequences of war. Because of this focus on the effects of war, his photographs can be considered as 'aftermath photography' (Möller, 2016). This article first introduces commonalities between photography and textiles. Then, it presents some of the exhibition photographs, connecting them with audience responses and themes that emerged from the interview. [ABSTRACT FROM AUTHOR]

This paper examines shifting attitudes in the late Ottoman official culture, with the argument that Palestine was claimed as an indispensable part of the imperial geography through modern technologies of photography, cartography, and warfare. The time period extends from the beginning of the construction of the Hijaz Railway in the 1880s to the British occupation of Jerusalem in 1917. The study is based on visual documents (photographs, maps, and postcards) drawn from the Ottoman archives, as well as from coverage in the Ottoman press of the time, most extensively from Servet-i Fünun. The discussion is organized around three key episodes. The first involves the construction of the Hijaz Railway, recorded by maps and a wealth of photographs. The photographs taken from heights, show endless landscapes crossed by rails, bridges, and tunnels - and crowded with Ottoman officers. The second explores how the Ottomans claimed Palestine through cartography. The topographic, ethnic, and touristic maps surveyed, organized, and conveyed a range of information on the district. The third focuses on the battles of the Gaza Front in 1917, tracing the advances and defeats of the Ottoman army as recorded by a series of maps accompanied by Hüseyin Hüsnü Emir's daily reports published in Yıldırım 1921. Significantly, World War I brought Palestine to the forefront of Ottoman military and political agendas, as conveyed through illustrated publications, most notably Harb Mecmuası, a periodical dedicated exclusively to the war. [ABSTRACT FROM AUTHOR]

In 1917 the Australian photographer Frank Hurley, renowned in Australia and Europe as an aesthete for his theatrical photographs of Antarctica, was commissioned as Australia's official First World War photographer. His tour encompassed France, Belgium, and finally Palestine where he, more concerned with visual experimentation than historical documentary, experimented first with color and then aerial photography. Hurley occupied a contested role on the battlefield as an artist engaged in wartime. His blending of artistic techniques with military technologies during the Palestine campaign, at the dawn of aerial imaging, represented a significant moment in the history of photography, and lays bare many of the ethical complexities that concern contemporary aerial images that are synonymous with power and control. [ABSTRACT FROM AUTHOR]

Henry Dunant's appeal for a neutral and impartial organization to provide care to wounded combatants aligned with growing criticism of mid-nineteenth-century European and North American conflicts. This article discusses the important convergence of Dunant's "lamentable pictures", laid out in his Memory of Solferino, with spectators' passionate responses to them and to battlefield photographs that circulated between 1855 and 1865. Through these images and reactions, there emerged a shared, expanded vision of humanity worth caring for, which brought into focus an international humanitarian movement. [ABSTRACT FROM AUTHOR]