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The Photo League: Aesthetics, politics, and the Cold War. (Volumes I and II).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The Photo League: Aesthetics, politics, and the Cold War. (Volumes I and II)./
作者:	Dejardin, Fiona M.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 1993,
面頁冊數:	540 p.
附註:	Source: Dissertations Abstracts International, Volume: 56-01, Section: A.
Contained By:	Dissertations Abstracts International56-01A.
標題:	History. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9419504
ISBN:	9798208270059

The Photo League: Aesthetics, politics, and the Cold War. (Volumes I and II).
Dejardin, Fiona M.

The Photo League: Aesthetics, politics, and the Cold War. (Volumes I and II). - Ann Arbor : ProQuest Dissertations & Theses, 1993 - 540 p.

Source: Dissertations Abstracts International, Volume: 56-01, Section: A.

Thesis (Ph.D.)--University of Delaware, 1993.

This item must not be added to any third party search indexes.

In 1947 the Photo League, a group of documentary photographers working in New York City from 1936-1951, was included on the Attorney General's list of subversive organizations, and the group's downfall in 1951 is often attributed to this event. League members have denied any connection to the Communist Party, and have insisted that by 1947 the organization was not interested in politics but, instead, was a group of concerned humanitarians, photographers and artists. The blacklisting, members claimed, appeared to have little relevance to the League's activities because the organization had moved away from photography as an instrument of social change towards photography as an art form, and had, consequently, become less politically involved. Nevertheless, as this study demonstrates, the FBI believed that the group was organized as a communist "front" and was connected with the Communist Party through the late forties. This study explores the Photo League's political activities, which the author believes informed the group's philosophy that documentary photography could and should be used to effect social change and posits that, throughout its duration, the Photo League affiliated with other organizations, which were perceived by the FBI and the House Committee on Un-American Activities as havens for subversive and hence "un-American" activity. The thesis also proposes that because the Photo League's membership was largely Jewish, inclusion on the Attorney General's list was perhaps, in part, an act of antisemitism; inclusion on the list, however, was also the result of connections the Photo League and its individual members had to the Film and Photo League, the Works Progress Administration, the American Artists' Congress, Art Front, the New Masses, the Daily Worker, the Almanac Singers and People's Songs, the Independent Citizens Committee for the Arts, the Progressive Citizens Association and Henry Wallace's bid for presidency through the formation of a third party. Such connections and affiliations were perceived by many on both the left and the right, and particularly the FBI and HUAC, to be evidence that the Photo League was primarily organized as a mouthpiece for the Communist Party.

ISBN: 9798208270059Subjects--Topical Terms:

516518
History.

The Photo League: Aesthetics, politics, and the Cold War. (Volumes I and II).
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500 $a Advisor: Leighten, Patricia.
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506 $a This item must not be added to any third party search indexes.
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520 $a In 1947 the Photo League, a group of documentary photographers working in New York City from 1936-1951, was included on the Attorney General's list of subversive organizations, and the group's downfall in 1951 is often attributed to this event. League members have denied any connection to the Communist Party, and have insisted that by 1947 the organization was not interested in politics but, instead, was a group of concerned humanitarians, photographers and artists. The blacklisting, members claimed, appeared to have little relevance to the League's activities because the organization had moved away from photography as an instrument of social change towards photography as an art form, and had, consequently, become less politically involved. Nevertheless, as this study demonstrates, the FBI believed that the group was organized as a communist "front" and was connected with the Communist Party through the late forties. This study explores the Photo League's political activities, which the author believes informed the group's philosophy that documentary photography could and should be used to effect social change and posits that, throughout its duration, the Photo League affiliated with other organizations, which were perceived by the FBI and the House Committee on Un-American Activities as havens for subversive and hence "un-American" activity. The thesis also proposes that because the Photo League's membership was largely Jewish, inclusion on the Attorney General's list was perhaps, in part, an act of antisemitism; inclusion on the list, however, was also the result of connections the Photo League and its individual members had to the Film and Photo League, the Works Progress Administration, the American Artists' Congress, Art Front, the New Masses, the Daily Worker, the Almanac Singers and People's Songs, the Independent Citizens Committee for the Arts, the Progressive Citizens Association and Henry Wallace's bid for presidency through the formation of a third party. Such connections and affiliations were perceived by many on both the left and the right, and particularly the FBI and HUAC, to be evidence that the Photo League was primarily organized as a mouthpiece for the Communist Party.
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