The worker photography movement and the New Vision in America
’s photographs, capturing mass demonstrations
and brutal police responses from the perspective of the worker in the middle of
the crowd, unlike the press photographers who generally observed events from
behind police lines. Seltzer’s account of his still photography was brusque –
indicating that he viewed it as less important than his film work. His role as the
main League photographer began when he arrived to mend some wiring at the
For a few months I had a camera and was doing still photography. We used to
cover all sorts of demonstrations and whatever was
cemeteries and daubing of graffiti on tombstones (Friedlander
1995). The situation by 1990 was seen as so concerning that, after
swastikas were drawn on thirty-four graves in a Jewish cemetery
in Carpentras in May that year (and one corpse was exhumed
and impaled), all five French national terrestrial television channels simultaneously screened Alain Resnais’ landmark film on the
Holocaust, Nuit et brouillard (1956) in an attempt to stem the tide
of anti-Semitism (Fysh and Wolfreys 2003: 68).
The 1990s saw France begin to come to terms more profoundly
with its role in the
The issue of ethnicity in France, and how ethnicities are represented there visually, remains one of the most important and polemical aspects of French post-colonial politics and society. This is the first book to analyse how a range of different ethnicities have been represented across contemporary French visual culture. Via a wide series of case studies – from the worldwide hit film Amélie to France’s popular TV series Plus belle la vie – it probes how ethnicities have been represented across different media, including film, photography, television and the visual arts. Four chapters examine distinct areas of particular importance: national identity, people of Algerian heritage, Jewishness and France’s second city Marseille.
Dada bodies focuses critical attention on Dada’s limit-forms of the human image from an international and interdisciplinary perspective, in its different centres (Zurich, Berlin, Cologne, Hanover, Paris and New York) and diverse media (art, literature, performance, photography and film). Iconoclastic or grotesque, a montage of disparate elements or reduced to a fragment, machine-part or blob, Dada’s bodily images are confronted here as fictional constructs rather than mimetic integrated unities. They act as both a reflection of, and a reflection on, the disjunctive, dehumanised society of wartime and post-war Europe, whilst also proposing a blueprint of a future, possible body. Through detailed analysis of works by Max Ernst, Francis Picabia, Hannah Höch, Marcel Duchamp and others, informed by recent theoretical and critical perspectives, the work offers a reassessment of the movement, arguing that Dada occupies an ambivalent space, between the battlefield (in the satirical exposure of the lies of an ideology that sought to clothe the corpse of wartime Europe) and the fairground (in the playful manipulation of the body and its joyful renewal through laughter, dream and dance).
Watching the red dawn charts the responses of the American avant-garde to the cultural works of its Soviet counterpart in period from the formation of the USSR in 1922 to recognition of this new communist nation by USA in 1933. In this period American artists, writers, and designers looked at the emerging Soviet Union with fascination, as they observed this epochal experiment in communism develop out of the chaos of the Russian Revolution and Civil War. They organised exhibitions of Soviet art and culture, reported on visits to Russia in books and articles, and produced works that were inspired by post-revolutionary culture. One of the most important innovations of Soviet culture was to collapse boundaries between disciplines, as part of a general aim to bring art into everyday life. Correspondingly, this book takes an interdisciplinary approach by looking at American avant-garde responses to Soviet culture across several media, including architecture, theatre, film, photography, and literature. As such, Watching the red dawn considers the putative area of ‘American Constructivism’ by examining the interconnected ways in which Constructivist works were influential upon American practices.
clothing, extensive information was
provided on the people portrayed.
Fashion in Artforum
Since the early 1980s Artforum had embraced a broad range of cultural expressions apart from visual art, such as film, popular culture and mediated culture.
In an advert from 1985 the broad scope of the magazine was described as
including: ‘architecture, dance, film, music, painting, performance, photography,
sculpture and theatre, contemporary art and its many forms’.24 From 1985
onwards this was also announced in the editorial content as regular columns
control or management of this powerful
actinic light was only further emphasised and validated by the fact that the
photograph of the therapeutic process was equally in control of that light.
Because of what it is and what it represents, Figure
3.1 offers itself as evidence of both phototherapy andphotography
skilfully controlling the ‘injurious’ light rays that quickly blinded eyes
and burnt skin andfilm
Soviet montage and the American cinematic avant-garde
‘newsreel in six parts’ Kino Glaz, which positioned a disembodied
eye within a photomontage over a geometric background with architectonic
text – the poster, in effect, created a Constructivist nexus of photography, film,
typography, and design.
The Soviet of Three produced several films during the mid 1920s, including
watching the red dawn
A Sixth Part of the World (1926) and The Eleventh Year (1928), but the first film to
be screened in the United States was The Man with a Movie Camera (1929). The
premiere of the film at the Film Guild Cinema, a building
1901), 149, CB, C301.
38 NCR, Art, Nature and the Factory (1904), NCR.DH.
39 ‘The Factory Lecture and its Results’, NCR (1 May 1899), 238, NCR.DH.
40 ‘Mr Patterson and Port Sunlight’, Progress, the Port Sunlight Monthly Journal 1:1 (October
1899), 35, PSVT.SV.
41 Davis, T. ‘The Bronx River Parkway andPhotography as an Instrument of Landscape
Reform’, Studies in the History of Gardens and Designed Landscapes 27:2 (April–June 2007),
‘The Most Beautiful Factory in the World’169
42 See the Cadbury films: July 26th 1911 British Medical Association visit to
of Ayala Blanco, De los Reyes and García Riera, and of
their ‘disciples,’ as detailed as it is, has left substantial
gaps, some of which have been filled by Monsiváis’ very different
style of film scholarship.
Monsiváis, Mexico’s foremost cultural critic, has
written widely on literature, journalism andphotography as well as on
cinema. He is the coauthor, along with Carlos Bonfil, of A través