"During his 50-year association with the Village Voice, Fred W. McDarrah (1926-2007) covered the city's downtown scenes, producing an unmatched and encyclopedic visual record of people, movements, and events. McDarrah frequented the bars, cafés, and galleries where writers, artists, and musicians gathered, and he was welcome in the apartments and lofts of the city's avant-garde cultural aristocracy. He captured every vital moment, from Jack Kerouac reading poetry, to Bob Dylan hanging out in Sheridan Square, to Andy Warhol filming in the Factory, to the Stonewall Riots. Through his lens, we see the legendary birth of ideas and attitudes that continue to shape the character and allure of New York today." -- Publisher's description

"Wartime Kiss is a personal meditation on the haunting power of American photographs and films from World War II and the later 1940s. Starting with a powerful reinterpretation of one of the most famous photos of all time, Alfred Eisenstaedt's image of a sailor kissing a nurse in Times Square on V-J Day, Alexander Nemerov goes on to examine an idiosyncratic collection of mostly obscure or unknown images and movie episodes--from a photo of Jimmy Stewart and Olivia de Havilland lying on a picnic blanket in the Santa Barbara hills to scenes from such films as Twelve O'Clock High and Hold Back the Dawn. Erotically charged and bearing traces of trauma even when they seem far removed from the war, these photos and scenes seem to hold out the promise of a palpable and emotional connection to those years. Through a series of fascinating stories, Nemerov reveals the surprising background of these bits of film and discovers unexpected connections between the war and Hollywood, from an obsession with aviation to Anne Frank's love of the movies. Beautifully written and illustrated, Wartime Kiss vividly evokes a world in which Margaret Bourke-White could follow a heroic assignment photographing a B-17 bombing mission over Tunis with a job in Hollywood documenting the filming of a war movie. Ultimately this is a book about history as a sensuous experience, a work as mysterious, indescribable, and affecting as a novel by W. G. Sebald"--

'Race and Photography' studies the changing function of photography from the 1870s to the 1940s within the field of the 'science of race', what many today consider the paradigm of pseudo-science. Amos Morris-Reich looks at the ways photography enabled not just new forms of documentation but new forms of perception

Boston's radio history begins with pioneering station 1XE/WGI, one of America's first radio stations, and includes the first station to receive a commercial license, WBZ; the first FM radio network, W1XOJ and W1XER; and one of the first news networks, the Yankee News Service. Nationally known bandleaders like Joe Rines and Jacques Renard were first heard on Boston radio, as was one of the first weathercasters, E. B. Rideout. The city has been home to a number of legendary announcers, such as Bob and Ray, Arnie Ginsburg, Dick Summer, Dale Dorman, and Charles Laquidara; talk show giants like Jerry Williams and David Brudnoy; and sports talkers like Eddie Andelman and Glenn Ordway. Many Boston radio personalities, such as Curt Gowdy, "Big Brother" Bob Emery, Don Kent, and Louise Morgan, found fame on television but first established themselves on Boston's airwaves. Since 1920, Boston radio has remained vibrant, proving that live and local stations are as important as ever--Publisher.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

In an amusing, playful tone, with charming candid examples of this own children, photographer Arthur Elgort provides a plethora of wonderful advice on getting the best photographs of children. Offering strategic hints on how to keep a subject's attention and setting up shots, Elgort also gives practical advice on storing film, keeping track of negatives and prints, types of cameras, and more. 250+ photos and illustrations.

Media philosopher Vilém Flusser proposed a revolutionary new way of thinking about photography. An analysis of the medium in terms of aesthetics, science and politics provided him with new ways of understanding both the cultural crises of the past and the new social forms nascent within them. Flusser showed how the transformation of textual into visual culture (from the linearity of history into the two-dimensionality of magic) and of industrial into post-industrial society (from work into leisure) went hand in hand, and how photography allows us to read and interpret these changes with particular clarity.

"This groundbreaking publication is the result of a decade-long project initiated by a group of five leading academics and practitioners. It asks what we learn by looking at photography through the lens of collaboration -- the condition of photography that shifts focus from the single photographer of an image to those participating in its creation, distribution, uses, and interpretation over time. Collaboration is built upon 115 selected projects that span the history of photography, featuring more than 100 contributing writers, 185 photographers, and hundreds of photographed persons. It is not an ultimate account of what photography is, does, or means. Rather, the book is an inspiration for teaching and an open invitation to scholars, activists, photographers, and others to practice always with and alongside others and participate actively in this engagement and inquiry." --

"This book develops a method that emphasizes the entwinements of "technology," "ideology," and the medium-specific particularities of photography in five twentieth-century cases in which photography and Jewish history intersect"--

From the 1850s to the 1950s, photography was one of the most open avenues for Jews in Britain to make a living, as well as to contribute to mainstream culture. If one’s picture was snapped for a price in Britain, the person behind the lens was more than likely born a Jew. Through the 1970s, Jews were prime movers behind nearly all things photographic in Britain, including photojournalism, portrait studios, collecting, applications of photography to the fine arts, and the emergence of photography criticism and history as distinct fields. Yet despite Jews having played such remarkable roles, far out of proportion to their number and in all facets of photography, little attention has been paid to ethnic-religious difference in studies of British photography.Richly illustrated with both color and black-and-white images, Jews and Photography in Britain is the first-ever historical investigation of this topic, ranging from the mid-nineteenth century to Queen Elizabeth’s controversial photo shoot with Annie Leibovitz in 2007. Michael Berkowitz explores subjects such as the attempts of H. W. Barnett to unsettle portrait conventions, the spectacular photo editing of Stefan Lorant, the influence of Erich Salomon on Fleet Street, the inception of the “Gernsheim Corpus” (a seminal resource for art historical research) conceived by Walter and Gertrud Gernsheim, the innovative photography practices at London’s Warburg Institute under Fritz Saxl, and the pioneering efforts at collecting and publishing about photography as history and art by Helmut and Alison Gernsheim.

"In this bold and wide-ranging book, intellectual historian Martin Jay traces across several centuries the conflict between two versions of nominalism-"conventional" nominalism and what he calls "magical" nominalism. According to Jay, since at least William of Ockham, the conventional form of nominalism contributed to the disenchantment of the world by rejecting the notion of general terms as anything other than names we use to group particular objects together, rejecting the idea that they have any reference to a further, "higher" reality. Magical nominalism, instead, performs a reenchanting function by investing names with an auratic power of their own. Starting with the initial revolution of nominalism against Scholastic realism, Jay proceeds to unpack various "counterrevolutions" against nominalism itself. Ranging from theology to critical theory, philosophy of history, aesthetics, and political theory, engaging with thinkers including Adorno, Barthes, Bataille, Benjamin, and Derrida; artists such as Marcel Duchamp; and a range of contemporary theorists, this book provides us with a new way to understand humanity's intellectual path to modernity and its aftermath. Focusing on fundamental debates over the relationship between language and reality, Jay shows, allows for surprising, illuminating connections across thinkers, disciplines, and vast realms of human experience"--

This book is the product of a unique collaboration between Israeli artist and philosopher Aïm Deüelle Lüski and visual culture theorist Ariella Azoulay. In their longstanding working relationship, they research how to theorize the structure of the contemporary scopic regime and open a space for its civil transformation. On this occasion, Azoulay interprets a particular series of cameras built by Deüelle Lüski, along with photographs taken by these cameras. Unlike conventional cameras and their vertical photography, Deüelle Lüski's cameras seek to generate new sets of relations between the camera and the world. Azoulay's text unfolds four different 'short histories' of problems in photography, each of which deconstructs what otherwise might appear as a coherent photographic regime, yet which is shown to be based solely on principles of sovereignty and possession. Through and with Deüelle Lüski's project Azoulay seeks to 'potentialize' the history of photography, that is, to recover long forgotten, un-materialized possibilities

"Poised between hope and despair for a humanity facing an urgent communication crisis, this work by Vilém Flusser forecasts either the first truly human, infinitely creative society in history or a society of unbearable, oppressive sameness, locked in a pattern it cannot change. First published in German in 1985 and now available in English for the first time, Into the Universe of Technical Images outlines the history of communication technology as a process of increasing abstraction. Flusser charts how communication evolved from direct interaction with the world to mediation through various technologies. The invention of writing marked one significant shift; the invention of photography marked another, heralding the current age of the technical image. The automation of the processing of technical images carries both promise and threat: the promise of freeing humans to play and invent and the threat for networks of automation to proceed independently of humans."--Publisher

Yael Bartana (born in 1970 in Israel) makes work largely about her conflicted homeland. She has an exceptionally sensitive eye for public ritual and ceremony, both organized and spontaneous. Her videos document such moments, often slowing them down or editing them in ways that focus on the intimate actions that define a person's public persona and private uncertainties.

This book of photographs, accompanied by poetic insights, shed light on our search for meaning in the contemporary world. The backdrop is exile, that ancient and modern reality that afflicts many in our search for justice and compassion. Whether our leave-taking is geographic, political, cultural or religious, exile is our plight. The prophetic, our difficult guide, is also our companion. Those in exile find hope in what the author calls the New Diaspora, the community whose exiles gather and find new life. The New Diaspora seeks a vision of beauty amid the ruins, hope among despair. Walking the beach of Cape Canaveral and traveling to troubled spots around the world, the author's images of the New Diaspora are startling. We are encouraged to reflect on our own journey and join our prophetic exile with others around the world.