000			03215cam a2200385Ki 4500
001			on1147875215
003			OCoLC
005			20240726105141.0
008			200331s2019 stka ob 001 0 eng d
040			_aNT _beng _erda _epn _cNT _dYDX
020			_a9781474404112 _q((electronic)l(electronic)ctronic)
043			_an-us---
050	0	4	_aTR820 _b.A447 2019
049			_aMAIN
100	1		_aBlinder, Caroline, _d1967- _e1
245	1	0	_aThe American photo-text, 1930-1960 /Caroline Blinder.
260			_aEdinburgh : _bEdinburgh University Press, _c(c)2019.
300			_a1 online resource (xi, 249 pages) : _billustrations (black and white).
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_adata file _2rda
386			_ngdr _aWomen _2lcdgt
490	1		_aBAAS Paperbacks
504			_a2
505	0	0	_a1. Portraiture as place in Julia Peterkin and Doris Ulmann's Roll, Jordan, roll (1933) -- _t2. Articulating the Depression in Dorothea Lange and Paul Taylor's American exodus (1939) and Margaret Bourke-White and Erskine Caldwell's You have seen their faces (1937) -- _t3. Establishing a photographic vernacular in Walker Evans's American photographs (1938) -- _t4. Modernism as documentary practice in James Agee and Walker Evans's Let us now praise famous men (1941) -- _t5. A post-war pastoral in Wright Morris's The inhabitants (1946) and The home place (1948) -- _t6. Hardboiled captions and flashgun aesthetics in Weegee's Naked city (1945) -- _t7. Ideology, history and democracy in in Paul Strand and Nancy Newhall's Time in New England (1950) -- _t8. Visions of Harlem in Langston Hughes and Ray DeCarava's The sweet flypaper of life (1955) -- _t9. Beat poetics in The Americans (1959)
520	0		_a"This critical study of the American photo-text focuses on the interaction between text and images in twentieth-century American photography as well as the discourse surrounding image-text collaboration on a wider level. In looking at books designed as collaborative efforts between writers and photographers and by photographer/writers adding their own narrative text, it establishes the photo-text as a genre related to and yet distinct from other documentary efforts. Ranging from documentary studies in the 1930s to post-war examinations of the American landscape, urban and rural, from Dorothea Lange's photographs of dispossessed migrants in American Exodus (1939), Weegee's small time hoodlums on the streets of New York in Naked City (1945), to Robert Frank's Cold War landscapes, this survey constitutes an invaluable entry into how we read the politics of twentieth-century American photography."-- _cProvided by publisher.
530			_a2 _ub
650		0	_aDocumentary photography _zUnited States _xHistory _y20th century.
655		1	_aElectronic Books.
856	4	0	_uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=2409506&site=eds-live&custid=s3260518 _zClick to access digital title | log in using your CIU ID number and my.ciu.edu password
942			_cOB _D _eEB _hTR. _m2019 _QOL _R _x _8NFIC _2LOC
994			_a92 _bNT
999			_c90702 _d90702
902			_a1 _bCynthia Snell _c1 _dCynthia Snell