Ernst Haas

This volume considers the film-stills of Ernst Haas, one of the most accomplished photographers of the twentieth century, transgressing the borders between static photography and the moving image. Haas worked with a variety of directors - from Vittorio de Sica to John Huston, Gene Kelly and Michael Cimino - covering movie genres from suspense (The Third Man; The Train) to the Western (The Oregon Trail; Little Big Man), and from comedy (Miracle in Milan; Love and Death) to musicals (West Side Story; Hello Dolly). While the photographic reference system known as the film-still has existed since the birth of cinema, inherent to the genre are precisely those parameters that are essential qualities of Haas' photography, and which interact in a striking manner with his images made independently of film. On the one hand, we find photographs documenting shoots and depictions of individual scenes. On the other hand, it is Haas' clear ambition to inscribe a temporal dimension into these images; to impose filmic principles into the stills which, viewed in a sequence, generate movement and narrative. Indeed, so great was his mastery of colour, light, and motion that Haas was frequently called upon to photograph large group actions - from the battle scenes of Charge of the Light Brigade and the dances of West Side Story to the ski-slopes of Downhill Racer. While adding a fascinating new take on the sets and the stars he photographed, Ernst Haas' On Set will also introduce readers to a little-known but crucial dimension in the work of this celebrated photographer.

The first book on master photographer Ernst Haas's work dedicated to both his classic and newly discovered New York City color photographs of the 1950s and 60s. Ernst Haas's color works reveal the photographer's remarkable genius and remind us on every page why we love New York. When Haas moved from Vienna to New York City in 1951, he left behind a war-torn continent and a career producing black-and-white images. For Haas, the new medium of color photography was the only way to capture a city pulsing with energy and humanity. These images demonstrate Haas's tremendous virtuosity and confidence with Kodachrome film and the technical challenges of color printing. Unparalleled in their depth and richness of color, brimming with lyricism and dramatic tension, these images reveal a photographer at the height of his career.

Color photographs depict the beauty of the elements, the seasons, plants, and animals

Far from being an inevitably aggressive and destructive force, nationalism is, for Ernst B. Haas, the primary means of bringing coherence to modernizing societies. In the second volume of his magisterial exploration of this topic, Haas emphasizes the benefits of liberal nationalism, which he deems more progressive than other nation-building formulas because it relies on reason to improve citizens' lives.The Dismal Fate of New Nations considers several societies that modernized relatively recently, many of them aroused to nationalism by the imperialism of the "old" nation-states. The book probes the different patterns of development in emerging countries—Iran, Egypt, India, Brazil, Mexico, China, Russia, and Ukraine—for insights into the possibilities and limitations of all nationalisms, especially liberal nationalism.Employing a systematic comparative perspective, Haas organizes the book around the notion of change and its management by political elites in Asia, Eastern Europe, Latin America, and the Middle East. Haas particularly wants to understand how nationalism plays out in the politics of modernization within non-Western cultures, especially those where religions other than Christianity predominate. Where the hold of religion remains formidable, he argues, the mixture of traditional and secular-modernist institutions and beliefs will challenge the victory of liberal nationalism and the very success of nation-state formation.

This collection of striking color images from the American West is both a moving national portrait as well as a celebration of analog color photography from an undisputed genius of the form. The photographer behind Life magazine’s first ever all-color photographic essay, Ernst Haas made—and captured—history as an early adopter of Kodachrome film. The Austrian-born artist had already established himself as a black and white photographer when he moved to America in 1951. But as a member of the renowned Magnum agency, he transformed the genre with his color-saturated images, the perfect medium for capturing America’s geographic and cultural landscapes. From desert storms, Route 66 gas stations, and Las Vegas neon to rolling prairie, dilapidated farms, small-town parades, and city sidewalks, Haas’ perfectly composed images, contain a distinct pictorial language, suffused with poetry, pattern, and light. At the same time his pictures communicate a journalist’s point of view, whether the subject is rural poverty, suburban comfort, or the myth of the American West. The remarkable book offers a vision of America that feels both poignantly distant and reassuringly familiar.

Abstrakt is a collection of photographs selected by Ernst Haas for a two-projector 25-minute film he worked on until his death in 1986. The photographs span his entire career in color from 1952 to 1984. Many of the photographs were shown in Life magazine's first color issue devoted to Haas' 1953 story on New York, "Images of a Magic City," and in his 1962 solo exhibition Ernst Haas: Color Photography at The Museum of Modern Art, the first color retrospective at that institution. The photographs in this book show various abstractions--from street detritus to torn posters and other found objects. Haas considered this project to be the culmination of his work in photography. Ernst Haas was born in Vienna in 1921 and took up photography after World War II. His early work on returning Austrian prisoners of war brought him to the attention of Life, from whom he resolutely declined a job as staff photographer in order to maintain his independence. At the invitation of Robert Capa, Haas joined Magnum in 1949, developing close associations with Capa, Werner Bischof and Henri Cartier-Bresson. He began experimenting with color, and in time became the premier color photographer of the 1950s. In 1962 New York's Museum of Modern Art mounted its first solo exhibition of his color work. Haas's books were legion, with The Creation (1971) selling 350,000 copies. Haas received the Hasselblad Award in 1986, the year of his death. His books to date with Steidl are Color Correction (2011) and On Set (2015).

Of all of the books produced by Ernst B Haas during his career, Beyond the Nation-State contains the most complete and definitive statement of 'neo-functionalism': the theory of trans-national integration for which he is best known. Focusing on the International Labor Organization (ILO), Beyond the Nation-State was one of the first efforts to analyse systematically the dynamics and effects of a global international institution. This book is regarded as a classic in comparative politics, international relations and amongst students of European Integration and has enjoyed a renaissance with the end of the cold war, reinvigorated European integration, resumed interest in communitarian theorising, and efforts to theorise about forms of global governance which relied on a heightened role for international institutions and their associated policy communities. First published in 1964, this book was part of larger project described by others as 'neofunctionalism', 'regional integration', and 'soft constructivism', which animated Haas throughout his career. Beyond the Nation-State continues to provide valuable guidelines for describing and understanding contemporary IR, and is re-issued with a new introduction by Peter M. Haas, John G. Ruggie, Philippe Schmitter and Antje Wiener, placing this important work in a current context

The University of Notre Dame Press is pleased to bring Ernst Haas's classic work on European integration, The Uniting of Europe, back into print. First published in 1958 and last printed in 1968, this seminal volume is the starting point for anyone interested in the pre-history of the European Union. Haas uses the European Coal and Steel Community (ECSC) as a case study of the community formation processes that occur across traditional national and state boundaries. Haas points to the ECSC as an example of an organization with the "power to redirect the loyalties and expectations of political actors." In this pathbreaking book Haas contends that, based on his observations of the actual integration process, the idea of a "united Europe" took root in the years immediately following World War II. His careful and rigorous analysis tracks the development of the ECSC, including, in his 1968 preface, a discussion of the eventual loss of the individual identity of the ECSC through its absorption into the new European Community. Featuring a new introduction by Haas analyzing the impact of his book over time, as well as an updated bibliography, The Uniting of Europe is a must-have for political scientists and historians of modern and contemporary Europe. This book is the inaugural volume of Notre Dame's new Contemporary European Politics and Society Series.