Afterimages
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A01=Liam Kennedy
afghanistan
africa
art
asia
Author_Liam Kennedy
casualties
Category=JBCT4
Category=JPS
Category=KNTP2
civilians
coup
el salvador
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eq_business-finance-law
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eq_society-politics
ethics
europe
foreign policy
government
gulf
history
home front
human rights
humanitarian aid
iran
iraq
journalism
military
napalm
news
nicaragua
nonfiction
overthrow
photography
photojournalism
politics
public opinion
rebellion
revolution
soldiers
somalia
south america
terrorism
the balkans
vietnam
violence
war
warlord
Product details
- ISBN 9780226337265
- Weight: 454g
- Dimensions: 16 x 24mm
- Publication Date: 01 Mar 2016
- Publisher: The University of Chicago Press
- Publication City/Country: US
- Product Form: Hardback
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In 2005, photographer Chris Hondros captured a striking image of a young Iraqi girl in the aftermath of the killing of her parents by American soldiers. The shot stunned the world and has since become iconic—comparable to the infamous photo by Nick Ut of a Vietnamese girl running from a napalm attack. Both images serve as microcosms for their respective conflicts. Afterimages looks at the work of war photographers like Hondros and Ut to understand how photojournalism interacts with the American worldview.
Liam Kennedy here maps the evolving relations between the American way of war and photographic coverage of it. Organized in its first section around key US military actions over the last fifty years, the book then moves on to examine how photographers engaged with these conflicts on wider ethical and political grounds, and finally on to the genre of photojournalism itself. Illustrated throughout with examples of the photographs being considered, Afterimages argues that photographs are important means for critical reflection on war, violence, and human rights. It goes on to analyze the high ethical, sociopolitical, and legalistic value we place on the still image’s ability to bear witness and stimulate action.
Liam Kennedy here maps the evolving relations between the American way of war and photographic coverage of it. Organized in its first section around key US military actions over the last fifty years, the book then moves on to examine how photographers engaged with these conflicts on wider ethical and political grounds, and finally on to the genre of photojournalism itself. Illustrated throughout with examples of the photographs being considered, Afterimages argues that photographs are important means for critical reflection on war, violence, and human rights. It goes on to analyze the high ethical, sociopolitical, and legalistic value we place on the still image’s ability to bear witness and stimulate action.
