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Shooting stars: War photographers i...

McCusker, Carol Therese.

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Shooting stars: War photographers in Hollywood.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Shooting stars: War photographers in Hollywood./
作者:	McCusker, Carol Therese.
面頁冊數:	248 p.
附註:	Adviser: Thomas Barrow.
Contained By:	Dissertation Abstracts International64-05A.
標題:	Art History. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3091779
ISBN:	9780496394883

Shooting stars: War photographers in Hollywood.
McCusker, Carol Therese.

Shooting stars: War photographers in Hollywood. - 248 p.

Adviser: Thomas Barrow.

Thesis (Ph.D.)--The University of New Mexico, 2001.

Robert Capa, Phil Stern, and David "Chim" Seymour were photojournalists who distinguished themselves by photographing, from 1935 to 1955, some of the worst events of the twentieth century. They covered the Depression, the rise and fall of the Front Populaire, the Spanish Civil War, Japan's invasion of China, World War II, and the war's troubled social, political, and military repercussions after 1945 in America, Europe, Asia, the Soviet Union, and the Middle East. But less known, they also photographed the motion picture industry in the decade after the war, years that were among Hollywood's most politically divisive, unstable, and distinctly creative. This dissertation explores how these radical photojournalists, known for their socialist politics and gritty, straight-forward documentation of migrant workers, refugees, political strikes, and war at close range, decided to photograph Hollywood, an industry of fictional imagery and artifice. It explores their celebrity photography within the context of their photojournalism from the perspective of new technology, the influence of peers such as Ernest Hemingway and John Huston, the politics of realism, gender, and race. In surveying Capa, Stern, and Seymour's work, this study proposes that their photography was a major influence on the realist "look" and contemporary subject matter found in many war and postwar films. This brand of realism, as seen in illustrated magazines, newsreels, radio, journalism, and cinema, was the beginning of a late modernist view of masculinity and racial identity that performed itself before the camera as a coherent identity at the same time splintering it into multiple images that shook up "either-or" dualisms that usually dominated the media.

ISBN: 9780496394883Subjects--Topical Terms:

635474
Art History.

Shooting stars: War photographers in Hollywood.
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245 1 0 $a Shooting stars: War photographers in Hollywood.
300 $a 248 p.
500 $a Adviser: Thomas Barrow.
500 $a Source: Dissertation Abstracts International, Volume: 64-05, Section: A, page: 1439.
502 $a Thesis (Ph.D.)--The University of New Mexico, 2001.
520 $a Robert Capa, Phil Stern, and David "Chim" Seymour were photojournalists who distinguished themselves by photographing, from 1935 to 1955, some of the worst events of the twentieth century. They covered the Depression, the rise and fall of the Front Populaire, the Spanish Civil War, Japan's invasion of China, World War II, and the war's troubled social, political, and military repercussions after 1945 in America, Europe, Asia, the Soviet Union, and the Middle East. But less known, they also photographed the motion picture industry in the decade after the war, years that were among Hollywood's most politically divisive, unstable, and distinctly creative. This dissertation explores how these radical photojournalists, known for their socialist politics and gritty, straight-forward documentation of migrant workers, refugees, political strikes, and war at close range, decided to photograph Hollywood, an industry of fictional imagery and artifice. It explores their celebrity photography within the context of their photojournalism from the perspective of new technology, the influence of peers such as Ernest Hemingway and John Huston, the politics of realism, gender, and race. In surveying Capa, Stern, and Seymour's work, this study proposes that their photography was a major influence on the realist "look" and contemporary subject matter found in many war and postwar films. This brand of realism, as seen in illustrated magazines, newsreels, radio, journalism, and cinema, was the beginning of a late modernist view of masculinity and racial identity that performed itself before the camera as a coherent identity at the same time splintering it into multiple images that shook up "either-or" dualisms that usually dominated the media.
520 $a Present in their work, along with that of the filmmakers they rendered, are autobiographical threads that weave together common experiences, political sympathies, and a sense of male individualism and camaraderie that was equally exultant as it was troubled. Their near obsessive enquiry into the male image, rather than clarifying it, made it problematic, a source of anxiety in its excess and proliferation. It was particularly true for Jewish photographers and filmmakers to see in carefully inscribed representations of masculinity a delineation along lines of race and class which they tried to restore.
520 $a As this study shows, the film industry photographs made by Capa, Stern and Seymour are not aberrations within their wartime oeuvre but a continuation of it. Socialist aspirations, a conflation of the authentic and the fictional, and an orientation toward action is present in each. Their photographs document a sympathy among a community of media men that shared first and foremost the experience of war, and a fascination with the mechanics and developing technologies associated with their craft that, through the camera-frame and a flat paper surface, gave form to their era's dramatic history and their own reconciliation to it.
590 $a School code: 0142.
650 4 $a Art History. $3 635474
650 4 $a Biography. $3 531296
650 4 $a Cinema. $3 854529
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710 2 $a The University of New Mexico. $3 1018024
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