Cameras At War

Books about war and the pictures that came out of conflict usually concentrate on the picture content. But behind every picture there is a camera – and that’s what this book is about. Profusely illustrated throughout with pictures of the cameras, rather than the pictures they took, it looks at 100 years of conflict from the Crimean War to the Korean War. It begins in the days when a photographer needed to be more of a scientist than an artist, such were the difficulties of shooting and processing any photograph. It ends with the cameras whose compact dimensions, versatility and ease of use meant that photographers could largely forget the science and concentrate on the art. Some cameras simply recorded events. Others defined and changed the way those events proceeded. These were the cameras that went to war, and this is their story.

Cold War Camera explores the visual mediation of the Cold War and illuminates photography’s role in shaping the ways it was prosecuted and experienced. The contributors show how the camera stretched the parameters of the Cold War beyond dominant East-West and US-USSR binaries and highlight the significance of photography from across the global South. Among other topics, the contributors examine the production and circulation of the iconic figure of the “revolutionary Vietnamese woman” in the 1960s and 1970s; photographs connected with the coming of independence and decolonization in West Africa; family photograph archives in China and travel snapshots by Soviet citizens; photographs of apartheid in South Africa; and the circulation of photographs of Inuit Canadians who were relocated to the extreme Arctic in the 1950s. Highlighting the camera’s capacity to envision possible decolonialized futures, establish visual affinities and solidarities, and advance calls for justice to redress violent proxy conflicts, this volume demonstrates that photography was not only crucial to conducting the Cold War, it is central to understanding it. Contributors. Ariella Azoulay, Jennifer Bajorek, Erina Duganne, Evyn Lê Espiritu Gandhi, Eric Gottesman, Tong Lam, Karintha Lowe, Ángeles Donoso Macaya, Darren Newbury, Andrea Noble, Sarah Parsons, Gil Pasternak, Thy Phu, Oksana Sarkisova, Olga Shevchenko, Laura Wexler, Guigui Yao, Donya Ziaee, Marta Ziętkiewicz

Readers of all ability levels will want to read these high-low books from 5 high-interest nonfiction subject areas: sports, history, biography, adventure, and science. Each easy-to-read book explores a fascinating narrative account of the subject. This all-new series features historical photographs, full-color graphics, glossary words on each page, and a contemporary chapter-book format. Copyright © Libri GmbH. All rights reserved.

A chronicle of the frontline photographers of World War II recounts the sometimes harrowing exploits of the American Military Photographers, men armed with cameras who accompanied the Army, Marines, Air Force, and Navy into battle.

What was it like to be a military combat photographer in the most photographed war in history — the Vietnam War? Shooting Vietnam takes you there as you read the firsthand accounts and view the hundreds of photographs by men who lived the war through the lens of a camera. They documented everything from the horror of combat to the people and culture of a land they suddenly found themselves immersed in. Some even juggled cameras with rifles and grenade launchers as they fought to survive while carrying out their assignments to record the war. “Shooting Vietnam” also finally brings recognition to these unheralded military combat photographers in Vietnam that documented the brutal, unpopular, and futile war.Firsthand accounts and photographs by military photographers in Vietnam from the mid-1960s to the early 1970s, “Shooting Vietnam” puts the reader right alongside these men as they struggle to document the war and stay alive while doing it — although some didn’t survive. The cameras around their necks often shared space with a rifle or grenade launcher that enabled them to stay alive while performing their assigned military duties, killing, if necessary, to survive.Often, during a brief respite from trudging through swamps and rice paddies or jumping from a chopper into a hot landing zone, they would wander the streets of villages or even downtown Saigon, curiously photographing a people and a culture so strange and different to them. It is these photographs, of a kinder, more personal nature, removed from the horror and death of war that they also share with the reader.The accounts in this book come from young men thrust into a conflict half way around the world, and all who had their own unique perspective on the war. Some were seasoned photographers before the military, others had only recently held a camera for the first time.

"YouTube War" is a book by Cori E. Dauber, an Associate Professor of Communication at the University of North Carolina. It presents a scientific monograph of its own kind researching an influence of new technologies of communication and information in the hands of private citizen and the surroundings in which they will be forced.

"Terrorist attacks today are often media events in a second sense: information and communication technologies have developed to such a point that these groups can film, edit, and upload their own attacks within minutes of staging them, whether the Western media are present or not. In this radically new information environment, the enemy no longer depends on traditional media. This is the "YouTube War." This monograph methodically lays out the nature of this new environment in terms of its implications for a war against media-savvy insurgents, and then considers possible courses of action for the Army and the U.S. military as they seek to respond to an enemy that has proven enormously adaptive to this new environment and the new type of warfare it enables."--P. iii