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Unlike most historical examinations of war reporting which centre the evolving role of the war correspondent, Conflicting Images focuses on the contribution of photographers and photojournalists, providing an evaluative appraisal of war photography in the news and its development from the nineteenth century to the twenty-first.
Unlike most historical examinations of war reporting which centre the evolving role of the war correspondent, Conflicting Images focuses on the contribution of photographers and photojournalists, providing an evaluative appraisal of war photography in the news and its development from the nineteenth century to the twenty-first.
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Autorenporträt
Stuart Allan is Professor in the School of Journalism, Media and Culture at Cardiff University, UK. He has published widely, including his editorship of The Routledge Companion to News and Journalism (second edition, 2023). His research interests in war, conflict, and crisis reporting often prioritise visual dimensions, inclusive of contributions from professionals and citizens alike.
Tom Allbeson is a Senior Lecturer in Media History at the School of Journalism, Media and Culture at Cardiff University, UK. He is also co-editor of the Journal of War and Culture Studies. His research concerns photojournalism and conflict, visual culture and postwar reconstruction, and collective memory in post-conflict societies.
Inhaltsangabe
List of Figures Introduction: The In/visibilities of War Photography Part I: The Emergence of War Photography in the Nineteenth Century 1. Photographic Dispatches from the Frontline 2. Configurations of the 'War Photographer' Part II: Twentieth-Century Conflicts and the Age of Photojournalism 3. Imperialism, Officialdom, and Human Interest in the First World War 4. The Emergence of Photojournalism in a Revolutionary Era 5. Photojournalism Mobilised: The Allied War Effort in the Second World War 6. Concerned Photographers between Decolonial Violence and Cold War Conflict 7. Re-Assertive Militaries and Self-Reflective Media at Century's End Part III: Digital Conflict Imagery in the Twenty-First Century 8. Digital Visions of the September 11 Attacks and the 'War on Terror' 9. The 'Visual Doctrine' of War Photography in Iraq 10. Citizen Imagery of Asymmetric Warfare 11. Visual Evidence and the Precarities of War Photography References Index
List of Figures
Introduction: The In/visibilities of War Photography
Part I: The Emergence of War Photography in the Nineteenth Century
1. Photographic Dispatches from the Frontline
2. Configurations of the 'War Photographer'
Part II: Twentieth-Century Conflicts and the Age of Photojournalism
3. Imperialism, Officialdom, and Human Interest in the First World War
4. The Emergence of Photojournalism in a Revolutionary Era
5. Photojournalism Mobilised: The Allied War Effort in the Second World War
6. Concerned Photographers between Decolonial Violence and Cold War Conflict
7. Re-Assertive Militaries and Self-Reflective Media at Century's End
Part III: Digital Conflict Imagery in the Twenty-First Century
8. Digital Visions of the September 11 Attacks and the 'War on Terror'
9. The 'Visual Doctrine' of War Photography in Iraq
10. Citizen Imagery of Asymmetric Warfare
11. Visual Evidence and the Precarities of War Photography
List of Figures Introduction: The In/visibilities of War Photography Part I: The Emergence of War Photography in the Nineteenth Century 1. Photographic Dispatches from the Frontline 2. Configurations of the 'War Photographer' Part II: Twentieth-Century Conflicts and the Age of Photojournalism 3. Imperialism, Officialdom, and Human Interest in the First World War 4. The Emergence of Photojournalism in a Revolutionary Era 5. Photojournalism Mobilised: The Allied War Effort in the Second World War 6. Concerned Photographers between Decolonial Violence and Cold War Conflict 7. Re-Assertive Militaries and Self-Reflective Media at Century's End Part III: Digital Conflict Imagery in the Twenty-First Century 8. Digital Visions of the September 11 Attacks and the 'War on Terror' 9. The 'Visual Doctrine' of War Photography in Iraq 10. Citizen Imagery of Asymmetric Warfare 11. Visual Evidence and the Precarities of War Photography References Index
List of Figures
Introduction: The In/visibilities of War Photography
Part I: The Emergence of War Photography in the Nineteenth Century
1. Photographic Dispatches from the Frontline
2. Configurations of the 'War Photographer'
Part II: Twentieth-Century Conflicts and the Age of Photojournalism
3. Imperialism, Officialdom, and Human Interest in the First World War
4. The Emergence of Photojournalism in a Revolutionary Era
5. Photojournalism Mobilised: The Allied War Effort in the Second World War
6. Concerned Photographers between Decolonial Violence and Cold War Conflict
7. Re-Assertive Militaries and Self-Reflective Media at Century's End
Part III: Digital Conflict Imagery in the Twenty-First Century
8. Digital Visions of the September 11 Attacks and the 'War on Terror'
9. The 'Visual Doctrine' of War Photography in Iraq
10. Citizen Imagery of Asymmetric Warfare
11. Visual Evidence and the Precarities of War Photography
References
Index
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