Harpers Weekly Reports Events of 1865

Harpers Weekly was the most widely read newspaper of the Civil War period. It featured foreign and domestic news, fiction, essays, and humor, populated with numerous maps and illustrations. The year 1865 saw the surrender of Robert E. Lee\u27s Army, the end of the Civil War, the assassination of Pres. Abraham Lincoln, the hunt for, trials, and execution of the assassination conspirators,and the sinking of the ship Sultana which caused the deaths of 1,700 Union soldiers. It also saw the trial and execution of Capt. William Wirz for Andersonville atrocities, the major fire in Philadelphia, and many other news worthy events. This document presents the images and covers from Harpers that outlines these important events in America\u27s history

"A Matter of Building Bridges": Photography and African American Education, 1957–1972

This dissertation examines the use of photography in civil rights educational efforts from 1957 to 1972. Photography played an important role in the long civil rights movement, resulting in major legal advances and greater public awareness of discriminatory practices against people of color. For most civil rights organizations and many African Americans, education was seen as the single most important factor in breaking down social and political barriers, and efforts toward equal education opportunities dramatically increased following the Supreme Court’s 1954 Brown v. Board of Education decision. My dissertation therefore investigates photography’s distinct role in documenting the activities of three educational initiatives—the desegregation of Central High School in Little Rock, Arkansas, in 1957, the Mississippi Freedom Schools formed the summer of 1964, and the Black Panther liberation schools established in Oakland, California, in 1969—to reveal the deep and savvy understanding of civil rights and Black Power organizations of the relationship between educational opportunities and political power

Star Tracks: Celebrity Values in People Magazine

Following a review of previous literature regarding the issues of social class and media communication, a content analytic approach involving coding and functional analysis was adopted to answer the question: Does People magazine’s “Star Tracks” section compose perceptions of upper-class celebrities as “other” for its middle- and working-class readership by portraying universal values in ways that are unattainable by those not in the socio-economic upper class? This study addressed the research question by examining the celebrity photographs as well as the captions of those photographs which are presented in the “Star Tracks” section of the June, July, and August 2008 issues of People magazine. Overall, 13 issues of People provided the sample of 208 photographs and captions examined through content analytic coding of the values presented

Picturing a Storm Center in the Far East: Geopolitical Image and Representation of Korea in Early American Newspaper Visuals

This Capstone Project explores the image and representation of Korea in early modern American newspaper visuals during the period when Korea and the U.S. first began to engage in the late 19th and early 20th centuries. The American newspaper visuals, which interact with headlines, captions, and texts, are represented with specific patterns and features in close links to the newspaper\u27s geopolitical discourse production, specifically the “Far Eastern Question,” which was produced by western powers and Japan. The visuals were intended to show Korea as a dangerous and uncivilized place, “a storm center in the Far East.” Such geopolitical visuals in early American newspapers, which presented Korea by linking politics with geography, aided in justifying the power-competition environment of imperialist countries in the Far East and neutralize Korea\u27s independence. The geographical images and representation of Korea in American newspaper visuals served American readers to visually understand the process of Japan\u27s protectorate of Korea. This project, which navigates the image and representation of early modern Korea, implies the origin of today’s Korean geopolitical images in U.S. media

Crossing the River of Blood Between Us: Lynching, Violence, Beauty, and the Paradox of Feminist History

Understandably, early feminist legal theory and history focused almost exclusively on establishing white women\u27s autonomy against white male dominance. The vehicles of nineteenth century women\u27s liberation included elements of public equality such as ownership of property, the right to vote, access to male dominated occupations, equal education and employment opportunity. Twentieth century feminists extended the equality project by penetrating the private sphere and attacking the very notion of a separate zone of family relations which was immune from government intervention to protect women from male abuse. Cultural feminists like Carol Gilligan took another approach, arguing that women\u27s experiences as sexual subordinates gave rise to a distinctive moral sensibility. The portrait of white men as victimizers thus became central to advancing the psychosocial and legal agendas for white women\u27s autonomy in this century. This largely bi-polar account of gender relations was a necessary, yet woefully defective, model for true autonomy. If the feminist dialogue is to mature, the complex story of the violence that underlies white women\u27s power as distinct from the power of white men must move from the parenthesis to the central thesis of a new debate about the uses and abuses of power among women. A healthy next stage of feminist discourse will include engagement and accountability for the dual role of victim and victimizer. This will require exploration of the paradox that a subordinated group could at once be the target of violence and disadvantage, while at the same time be the perpetrators of pervasive racial and sexual violence. This Essay seeks to explore the meaning of the complex history of lynching for understanding the relationships between black women and white women today

The Visual Syntax of a Postcolony: Photographs in Zambia, 1930s – 1980s

This dissertation investigates how photographs and photographic practices have both shaped and have been shaped by the political, cultural and performative demands of the project of postcolonial nation building in Zambia. Drawing on both visual and textual materials from the 1930s to the 1980s, collected from the National Archives of Zambia as well as several private collections, including that of the Fine Art Studios in Lusaka, this dissertation attempts to understand the different ways in which critical attention to the role of the mechanically reproduced images can allow us to reconsider the given boundaries between the colonial and the postcolonial, the public and the private, and the nation and the individual. The first chapter explores the methodological possibilities and the archival limits of writing a social history of photography in Zambia that still remains largely undocumented. The second chapter sifts through thousands of images haphazardly stored in the National Archives of Zambia, reflecting on the shift from the ethnographic mode of observation in the late colonial period to the concerted imaging of developmentalist spectacles in the early postcolonial period. The focus of the third chapter is on the politics of official images of Kenneth Kaunda, the first president of independent Zambia. This dissertation combines uses of photographs, archival documents, semi-structured interviews and brief auto-ethnographic observations

Photo Manipulation and its Effect on Future Credibility of Documentary Photojournalism

With today\u27s increased use of computers and computer technology in newspaper photo departments, digitally transmitted and managed images are quickly becoming standard practice. In one sense, this is a tremendous boon for the industry. On the other hand, the electronic age is potentially harmful to the documentary nature of photojournalism. Unlike advertising or fine art photography, documentary photojournalism is a record, a visual witness if you will, of actual events and happenings. People consider such photos as being a view of the facts. With the new technology comes the ability to change those facts, to create a lie. Therein rests the problem. A manipulated photograph is no longer a view of reality, but rather a fabrication from someone\u27s imagination. This is not journalism. This is fantasy. This fantasy is nothing new. People have been manipulating photos since the invention of photography. What is new, however, is the ability to digitally alter photographic images easily and cleanly. Digitally altered photos are generally undetectable as having been manipulated, even to the trained eye. Owing to an image-altered photo\u27s potential for deception, any newspaper publishing such photos would stand in jeopardy of losing credibility with its readership. Digital photo manipulation directly effects the credibility of both journalistic photographs as well as the written word. A level of trust needs to be present between the publication and its readers. Whenever readers feel a publication is not 100 percent honest in its visual presentation of the facts, they are left to wonder how factual the verbiage is as well. The future credibility of documentary photojournalism is based on what members of the profession do (or do not do) with these new tools the computer age offer. To determine the existence and implementation status of standards on this subject, a survey was conducted of visual communication editors at various newspapers across the country. From this research we conclude that editors feel the new technology is a potential problem and standards need to be set. Although nearly three-quarters of the newspapers have unwritten policies on photo manipulation, almost the same number feel they need written standards. The industry seems to be headed in the right direction to safeguard its credibility, but we need an ever watchful eye to make sure we do not stray from our goals of honesty and credible reportage

Images as Proof. Photographic portrayal of Catastrophes in Helsingin Sanomat, 1969-1979

Tutkielman aiheena ovat Helsingin Sanomissa 1969 – 1979 uutisoitujen onnettomuuksien kuvallisen esittämisen tavat. Aihetta lähestytään analysoimalla V. K. Hietasen ottamia uutisartikkelien yhteydessä julkaistuja katastrofivalokuvia. Analyysi tapahtuu vertailemalla negatiiveja julkaistuihin kuviin, syventymällä kuvavalintoihin, sekä siihen, miten ne mahdollisesti vaikuttavat lukijoiden käsitykseen todellisuudesta. Tutkielmassa valokuvat toimivat itsenäisinä historian lähteinä, niiden arvo ja luotettavuus punnitaan omassa kontekstissaan. Vaikkakin lehtikuvat ovat pääasiallisena lähteenä, niiden suhde artikkeleihin ja kuvateksteihin on merkityksellinen. Katastrofi-termi viittaa tutkimuksessa onnettomuus- ja rikoskuviin, niiden yhdistäviä tekijöitä ovat draamallisuus ja dramaattisuus. Toisaalta kuvat ovat todisteita dramaattisesta tapahtumasta, toisaalta ne on rakennettu kertomaan tapahtuman tarina joko yksittäisessä kuvassa tai monesta kuvasta koostuvassa kuvasarjassa. Todistaminen ja kuvien rakentaminen tapahtuu pitkälti henkilöiden kautta. Personifikaation avulla uutisartikkelit ja niiden kuvat tuodaan lähemmäksi lukijoita. Valokuvien todistus- ja totuusarvot vaihtelevat julkaisuyhteydestä riippuen, vaikka kuvien alkuperäinen tarkoitus on todistaa tapahtumien todenperäisyydestä. Samoin vaatimus niiden autenttisuudesta on artikkelityypille alisteinen. Kuvavalinnoissa tasapainoillaan todellisuuden näyttämisen ja peittämisen välillä. Lukijoille luodaan kuvavalinnoin mediatapahtumia, joissa onnettomuuksien dramaattisuus korostuu, mutta samalla heille kuitenkin luodaan kuva harmonisesta yhteiskunnasta, jossa auktoriteetit ja yhteisöt liittävät voimansa yhteen taistelussa pahaa vastaan.Siirretty Doriast

Intermedia strategies of narrative resistance: Cartucho, La noche de Tlatelolco, and representations of Ayotzinapa

This dissertation examines the use of visual media as a means of resistance to oppressive political narratives in five Mexican works from the twentieth and twenty-first centuries. Included are two novels: Nellie Campobello’s Cartucho: Relatos de la lucha en el Norte de México (1931), on the Mexican Revolution, and Elena Poniatowska’s La noche de Tlatelolco (1971), about the 1968 Mexican student movement and the October 2 massacre. I also analyze three projects, both visual and discursive, related to the 2014 forced disappearance of 43 students of the Ayotzinapa Teacher’s College in Guerrero, Mexico. The three historical moments the five texts explore are marked by particular trends in visual representation as well as by official narratives that manipulate or misrepresent history for political purposes. I analyze Cartucho and La noche de Tlatelolco with regard to their distinctive structures using theories on photography and cinematography, which help to describe the narrative dimensions of the works. The photography theory is primarily drawn from the work of Walter Benjamin, Susan Sontag, and Roland Barthes, while the cinematographic theory is drawn from Sergei Eisenstein’s work on intellectual montage. I argue that Cartucho functions as a textual “album,” in which each brief text (relato) presents a snapshot of a participant or moment during the Mexican Revolution related to the Villista forces. Campobello’s work responds to the commercial and political uses of photographic images of the time (1916-1920) and was written with the goal of refuting the “black legend,” which characterized the Villistas as criminals. Concerning La noche de Tlatelolco, I analyze the way in which early editions of the book incorporated images of 1968, and argue that the text is best understood as an intellectual montage, which communicates through interactions between the fragmentary and contradictory texts that comprise the book. I analyze the three Ayotzinapa projects, a museum exhibit, an online platform, and the Antimonumento +43, by considering how an audience must interact with each; my goal is to understand the discourse these works generate regarding the Ayotzinapa case, and I explore the problems of historicization and memorialization in relation to ongoing Ayotzinapa activism