Rhetorical Exposures
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A01=Christopher Carter
Author_Christopher Carter
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Category=GTC
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image texts
inequality
injustice
photographic rhetoric
photography and social inequality
photos and politics
poverty
United States documentary photos
Product details
- ISBN 9780817318628
- Weight: 495g
- Dimensions: 157 x 228mm
- Publication Date: 30 Apr 2015
- Publisher: The University of Alabama Press
- Publication City/Country: US
- Product Form: Hardback
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In Rhetorical Exposures, Christopher Carter explores social documentary photography from the nineteenth century to the present to illuminate the political dimensions of photographs that highlight social injustice.
Documentary photography aims to capture the material reality of life. In Rhetorical Exposures, Christopher Carter demonstrates how the creation and display of documentary photographs—often now called “imagetexts”—both invite analysis and raise persistent questions about the political and social causes for the bleak scenes of poverty and distress captured on film.
Carter’s carefully reasoned monograph examines both formal qualities of composition and the historical contexts of the production and display of documentary photographs. In Rhetorical Exposures, Carter explores Jacob Riis’s heart-rending photos of Manhattan’s poor in late nineteenth-century New York, the iconic images of tenant farmers in west Alabama from James Agee and Walker Evans’s Let Us Now Praise Famous Men, Ted Streshinsky’s images of 1960s social movements, Camilo José Vergara’s photographic landscapes of urban dereliction in the 1970s, and Chandra McCormick’s portraits of New Orleans’s Ninth Ward scarred by Hurricane Katrina.
While not ascribing specifically political or Marxist intentions to the photographers discussed, Carter frames his arguments in a class-based dialectic that addresses material want as an ineluctable result of social inequality. He argues that social documentary photos have the powerful capacity to prompt viewers to confront injustice. Though photography may induce socially disruptive experiences, it remains vulnerable to the same power dynamics it subverts. Therefore, Carter offers a “rhetoric of exposure” that outlines how such social documentary images can be treated as highly tensioned rhetorical objects. His framework enables the analysis of photographs as heterogeneous records of the interaction of social classes and expressions of specific built environments. Rhetorical Exposures also discusses how photographs interact with oral and print media and relate to public memorials, murals, and graphic novels.
As the creation and dissemination of new media continues to evolve in an environment of increasing anxiety about growing financial inequality, Rhetorical Exposures offers a very apt and timely discussion of the ways social documentary photography is created, employed, and understood.
Documentary photography aims to capture the material reality of life. In Rhetorical Exposures, Christopher Carter demonstrates how the creation and display of documentary photographs—often now called “imagetexts”—both invite analysis and raise persistent questions about the political and social causes for the bleak scenes of poverty and distress captured on film.
Carter’s carefully reasoned monograph examines both formal qualities of composition and the historical contexts of the production and display of documentary photographs. In Rhetorical Exposures, Carter explores Jacob Riis’s heart-rending photos of Manhattan’s poor in late nineteenth-century New York, the iconic images of tenant farmers in west Alabama from James Agee and Walker Evans’s Let Us Now Praise Famous Men, Ted Streshinsky’s images of 1960s social movements, Camilo José Vergara’s photographic landscapes of urban dereliction in the 1970s, and Chandra McCormick’s portraits of New Orleans’s Ninth Ward scarred by Hurricane Katrina.
While not ascribing specifically political or Marxist intentions to the photographers discussed, Carter frames his arguments in a class-based dialectic that addresses material want as an ineluctable result of social inequality. He argues that social documentary photos have the powerful capacity to prompt viewers to confront injustice. Though photography may induce socially disruptive experiences, it remains vulnerable to the same power dynamics it subverts. Therefore, Carter offers a “rhetoric of exposure” that outlines how such social documentary images can be treated as highly tensioned rhetorical objects. His framework enables the analysis of photographs as heterogeneous records of the interaction of social classes and expressions of specific built environments. Rhetorical Exposures also discusses how photographs interact with oral and print media and relate to public memorials, murals, and graphic novels.
As the creation and dissemination of new media continues to evolve in an environment of increasing anxiety about growing financial inequality, Rhetorical Exposures offers a very apt and timely discussion of the ways social documentary photography is created, employed, and understood.
Christopher Carter is an associate professor of English at the University of Cincinnati, USA, where he also serves as composition director of the department. He is the author of Rhetoric and Resistance in the Corporate Academy and a past editor of Workplace: A Journal for Academic Labor. His essays have appeared in College English, JAC, Rhetoric Review, and Works and Days.
