Photography In The Great War

"One hundred thousand New Zealanders went overseas to the First World War - many, for the first time, bearing Kodak cameras. The Face of War is the first book to examine the vernacular photos of World War I taken by its New Zealand participants. In this book, Callister discusses how photography was used to capture and narrate, memorialise and observe, romanticise and bear witness to the experiences of New Zealanders at home and overseas. By 1915 cameras had become affordable and popular, and were used by soldiers themselves to picture war as well as by officials, journalists and medical staff. But photography can be used both to record a true picture and to disguise the unpalatable, particularly in times of war. Callister's discussion is the first to argue for the importance of New Zealand photography to the history of war, but also examines in depth the contradictions of war photography: as a site of remembrance and forgetting; nation and sacrifice; mourning and mythology; subjectivity and identity. The Face of War is an authoritative history of New Zealand's World War I photography and its cultural, emotional and memorial roles"--Publisher's description.

It was the war to end all wars, a conflict without precedent in which millions perished and it was also one of the first conflagrations captured comprehensively in photographs. These carefully selected images capture World War One in all its haunting detail. From the mud of Flanders to the beaches of Gallipoli, all the great battles, all the theaters of operations, and all the nationalities involved are commemorated. It's an intensely moving testament to the patriotism and innocence of the men and women who volunteered, the bloody reality of trench warfare on the Western Front, the terror of gas and mechanized weaponry, the sea battles around the globe, and the ultimate sacrifice of a generation. Divided year by year, each chapter opens with a comprehensive overview of the main events and developments."

The second in a series of five titles, which will cover each year of the war graphically. Countless thousands of pictures were taken by photographers on all sides during the First World War. These pictures appeared in the magazines, journals and newspapers of the time. Some illustrations went on to become part of post-war archives and have appeared, and continue to appear, in present-day publications and TV documentary programmes many did not. The Great War Illustrated series will include in its pages many rarely seen images with individual numbers allocated and subsequently they will be lodged with the Taylor Library Archive for use by editors and authors.The Great War Illustrated 1915 covers the 1915 Gallipoli campaign and the battles that commenced on the Western Front that year. Some images will be familiar many will be seen for the first time by a new generation interested in the war that changed the world forever. With over 1,000 painstakingly restored images, this will be a definitive picture reference book on 1915 and will appeal to enthusiasts, collectors and student of the period alike.

This book draws on a rich set of materials to examine postwar experiences of ex-servicemen who were facially-disfigured during the First World War. Weaving together medical, institutional, amateur and family photographic albums under a social history framework, Jason Bate underscores overlooked aspects of these men's continued hardships after returning home from the front. In particular, a focus is on the private sphere of the family and the complicated world of employment that disfigured veterans navigated on their return. Little attention has hitherto been paid to the aftercare of disfigured veterans once discharged from the army, or the long-term impact on individuals, and the sense of burden felt by families and local communities. In addressing this neglected area, the chapters here illuminate different practices of photography by doctors, nurses, press agencies, and families across the generations to challenge our perceptions of the personal traumas of soldiers and civilians.

Photography has visualized international relations and conflicts from the midnineteenth century onwards and continues to be an important medium in framing the worlds of distant, suffering others. Although photojournalism has been challenged in recent decades, claims that it is dead are premature. The Violence of the Image examines the roles of image producers and the functions of photographic imagery in the documentation of wars, violent conflicts and human rights issues; tackling controversial ideas such as 'witnessing', the making of appeals based on displays of human suffering and the much-cited concept of 'compassion fatigue'. In the twenty-first century, the advent of digital photography, camera phones and socialmedia platforms has altered the relationship between photographers, the medium and the audience- as well as contributing to an ongoing blurring of the boundaries between news and entertainment and professional and amateur journalism. The Violence of the Image explores how new vernacular and artistic modes of photographic production articulate international friction.This innovative, timely book makes a major contribution to discussions about the power of the image in conflict.

Oxmoor House Great Photographs of World War II (Collectors Edition) The most evocative collection of World War II photographs ever published. Selected by Time Life editors from thousands of images from museums and collections around the world, these photographs tell the haunting story of the war's heroes and horrors. Famous images from LIFE magazine are juxtaposed with rare photographs to give us a unique glimpse of war through the eyes of soldiers and civilians caught up in the most destructive conflict of all time. The editors have assembled over 280 gripping images into 25 chronological photo essays. Here, the most cataclysmic events of the war, from the Battle of Britain and the attack on Pearl Harbor to D-Day and the fall of the Third Reich, are defined by some of the most dramatic photographs of the 20th century. February 2004280+ photos 304 pages1 0 1/2" x 10 1/4" Hardcover with jacket Carton 6, Item 130057 ISBN 0-8487-2818-1 $39.95 US UPC 7-49075-30057-7

The final book in a series of five titles which graphically cover each year of the war. Countless thousands of pictures were taken by photographers on all sides during the First World War. These pictures appeared in the magazines, journals and newspapers of the time. Some illustrations went on to become part of postwar archives and have appeared, and continue to appear, in present-day publications and TV documentary programs - many did not. The Great War Illustrated series, beginning with the year 1914, includes in its pages many rarely seen images with individual numbers allocated, and subsequently they will be lodged with the Taylor Library Archive for use by editors and authors. While some of the images in The Great War Illustrated 1918 will be familiar, many will be seen for the first time by a new generation interested in the months that changed the world for ever.

One hundred years later, the First World War has returned to public consciousness, often through republished photographs of its horrors: the muddy trenches, the devastated battlefields, the maimed survivors. Because the most popular cameras of the time were the Vest Pocket Kodak and other crude film cameras, the "look" of that Great War is grainy, blurred, and monochrome. This book presents a startlingly different First World War, one seen through rare glass plate photographs made by the war's most gifted cameramen, selected and digitally restored by Magnum photographer Carl De Keyzer. Scanned from the original plates, with scratches and other flaws painstakingly removed, these oversized reproductions reveal the war in uncanny and previously unseen clarity. Also startling are the unfamiliar scenes selected by De Keyzer and elucidated by historian David Van Reybrouck: staged scenes of men in training (and of children imitating them), dramatic industrial photographs, landscapes of astonishing destruction, pictures of African colonial troops on the Western front, and postmortem portraits of thirteen Belgian soldiers killed in battle on the second day of the war. A quarter of the photographs in this book are in color, made with the autochrome process. The book includes a preface by Geoff Dyer, who refers to "the extraordinary power and surprise of this hoard of photographs" and discusses the disconcerting temporal effects of seeing such unusual pictures of a historical event we strongly associate with entirely different imagery.