{"id":929,"date":"2025-02-11T09:30:51","date_gmt":"2025-02-11T09:30:51","guid":{"rendered":"http:\/\/localhost\/reframingphotography\/?post_type=content&#038;p=929"},"modified":"2025-02-11T09:30:53","modified_gmt":"2025-02-11T09:30:53","slug":"war","status":"publish","type":"content","link":"https:\/\/staging.routledgelearning.com\/reframingphotography\/resources\/topics\/war\/","title":{"rendered":"War"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\">The&nbsp;<a href=\"https:\/\/www.reframingphotography.com\/content\/buy-book\"><em>Reframing Photography<\/em>:&nbsp;<em>Theory and Practice<\/em><\/a>&nbsp;book discusses many works and issues related to photography and war, including the ethics of reproduction, the relationship between the media, the government, and the public, how photography represented the &#8220;realities&#8221; of war, and censorship and suppression of imagery during war. A list of links with related research material is below.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Margot Adler, \u201cThe Vietnam War, Through Eddie Adams\u2019 Lens,\u201d&nbsp; All Things Considered, NPR, March 24, 2009<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"http:\/\/www.npr.org\/templates\/story\/story.php?storyId=102112403\">http:\/\/www.npr.org\/templates\/story\/story.php?storyId=102112403<\/a><\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"545\" height=\"344\" src=\"https:\/\/cdn-staging.routledgelearning.com\/wp-content\/uploads\/assets\/sites\/16\/adams_eddie.jpg\" alt=\"\" class=\"wp-image-930\" srcset=\"https:\/\/cdn-staging.routledgelearning.com\/wp-content\/uploads\/assets\/sites\/16\/adams_eddie.jpg 545w, https:\/\/cdn-staging.routledgelearning.com\/wp-content\/uploads\/assets\/sites\/16\/adams_eddie-300x189.jpg 300w\" sizes=\"auto, (max-width: 545px) 100vw, 545px\" \/><figcaption class=\"wp-element-caption\"><strong>Eddie Adams<\/strong>,\u00a0<em>General Nguyen Ngoc Loan executing a Vietcong prisoner, Nguyen Van Lem, on a Saigon street, February 1, 1968<\/em>. 1968. Silver print, 8 x 10in. \u00a9 AP\/Press Association Images.<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"545\" height=\"436\" src=\"https:\/\/cdn-staging.routledgelearning.com\/wp-content\/uploads\/assets\/sites\/16\/Morimura_saigon.jpg\" alt=\"\" class=\"wp-image-931\" srcset=\"https:\/\/cdn-staging.routledgelearning.com\/wp-content\/uploads\/assets\/sites\/16\/Morimura_saigon.jpg 545w, https:\/\/cdn-staging.routledgelearning.com\/wp-content\/uploads\/assets\/sites\/16\/Morimura_saigon-300x240.jpg 300w\" sizes=\"auto, (max-width: 545px) 100vw, 545px\" \/><figcaption class=\"wp-element-caption\"><strong>Yasumasa Morimura<\/strong>,\u00a0<em>A Requiem: VIETNAM WAR 1968 \u2013 1991<\/em>, 2001. Gelatin silver print mounted on Alpolic, 120 x 150cm, Edition 5. Courtesy Galerie Thaddaeus Ropac, Paris\/Salzburg.<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"545\" height=\"375\" src=\"https:\/\/cdn-staging.routledgelearning.com\/wp-content\/uploads\/assets\/sites\/16\/muniz_memory.jpg\" alt=\"\" class=\"wp-image-932\" srcset=\"https:\/\/cdn-staging.routledgelearning.com\/wp-content\/uploads\/assets\/sites\/16\/muniz_memory.jpg 545w, https:\/\/cdn-staging.routledgelearning.com\/wp-content\/uploads\/assets\/sites\/16\/muniz_memory-300x206.jpg 300w\" sizes=\"auto, (max-width: 545px) 100vw, 545px\" \/><figcaption class=\"wp-element-caption\"><strong>Vik Muniz<\/strong>,\u00a0<em>Memory Rendering of Saigon Execution of Vietcong Suspect<\/em>, from the\u00a0<em>Best of Life<\/em>\u00a0series, 1989, photograph. \u00a9 Vik Muniz\/VAGA, New York\/DACS, London 2010.<\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">photography and the civil war, 1861-1865, the metropolitan museum of art<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"http:\/\/www.metmuseum.org\/toah\/hd\/phcw\/hd_phcw.htm\">http:\/\/www.metmuseum.org\/toah\/hd\/phcw\/hd_phcw.htm<\/a><\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Understanding War Through Imagery: The Civil War in American Memory, U.S. Army Heritage &amp; Education Center (USAHEC)<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"http:\/\/www.carlisle.army.mil\/AHEC\/AHM\/civilwarimagery\/index.cfm\">http:\/\/www.carlisle.army.mil\/AHEC\/AHM\/civilwarimagery\/index.cfm<\/a><\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Fulya Ertem, &#8220;The Pose in Early POrtrait Photography: Questioning Attempts to Appropriate the Past.&#8221; Image &amp; Narrative, July 2006.<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"http:\/\/www.imageandnarrative.be\/inarchive\/painting\/fulya.htm\">http:\/\/www.imageandnarrative.be\/inarchive\/painting\/fulya.htm<\/a><\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"298\" height=\"600\" src=\"https:\/\/cdn-staging.routledgelearning.com\/wp-content\/uploads\/assets\/sites\/16\/portrait_military.jpg\" alt=\"\" class=\"wp-image-933\" srcset=\"https:\/\/cdn-staging.routledgelearning.com\/wp-content\/uploads\/assets\/sites\/16\/portrait_military.jpg 298w, https:\/\/cdn-staging.routledgelearning.com\/wp-content\/uploads\/assets\/sites\/16\/portrait_military-149x300.jpg 149w\" sizes=\"auto, (max-width: 298px) 100vw, 298px\" \/><figcaption class=\"wp-element-caption\">Unknown photographer,\u00a0<strong><em>Portrait of a man in a military uniform,\u00a0including a sword, medals, and epaulets<\/em><\/strong>. n.d. (c. 1890-1920). Photogravure, 4.0 x 7.875 inches. The Schlesinger History of Women in America Collection, Photograph Number: A47-18-1. Courtesy of The Schlesinger Library, Radcliffe Institute, Harvard University.<\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">Roger Fenton Crimean war photos at the library of congress<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"http:\/\/www.loc.gov\/pictures\/collection\/ftncnw\/\">http:\/\/www.loc.gov\/pictures\/collection\/ftncnw\/<\/a><\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Alexander Gardner in the&nbsp;<em>George Eastman House<\/em>&nbsp;Photography Collections Online<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"http:\/\/www.geh.org\/\">http:\/\/www.geh.org\/<\/a><\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"545\" height=\"393\" src=\"https:\/\/cdn-staging.routledgelearning.com\/wp-content\/uploads\/assets\/sites\/16\/gardner_dead_confederate_0.jpg\" alt=\"\" class=\"wp-image-934\" srcset=\"https:\/\/cdn-staging.routledgelearning.com\/wp-content\/uploads\/assets\/sites\/16\/gardner_dead_confederate_0.jpg 545w, https:\/\/cdn-staging.routledgelearning.com\/wp-content\/uploads\/assets\/sites\/16\/gardner_dead_confederate_0-300x216.jpg 300w\" sizes=\"auto, (max-width: 545px) 100vw, 545px\" \/><figcaption class=\"wp-element-caption\"><strong>Alexander Gardner<\/strong>,\u00a0<em>Dead Confederate Sharpshooter in the Devil\u2019s Den, Gettysburg, Pa, July 1863<\/em>. Albumen print \u00a9 Library of Congress, Prints &amp; Photographs Division, Civil War Photographs [reproduction number, LC-B817-7942].<\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">Hiroshima: Ground Zero 1945 Exhibition, International Center of Photography<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"http:\/\/www.icp.org\/museum\/exhibitions\/hiroshima-ground-zero-1945\">http:\/\/www.icp.org\/museum\/exhibitions\/hiroshima-ground-zero-1945<\/a><\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Holocaust Photographs, The Jewish Virtual Library<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"http:\/\/www.jewishvirtuallibrary.org\/jsource\/Holocaust\/phototoc.html\">http:\/\/www.jewishvirtuallibrary.org\/jsource\/Holocaust\/phototoc.html<\/a><\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Photo archives, The United States Holocaust Memorial Museum<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"http:\/\/www.ushmm.org\/research\/collections\/photo\/\">http:\/\/www.ushmm.org\/research\/collections\/photo\/<\/a><\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Chris Hondros<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"http:\/\/www.chrishondros.com\/\">http:\/\/www.chrishondros.com\/<\/a><\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"545\" height=\"477\" src=\"https:\/\/cdn-staging.routledgelearning.com\/wp-content\/uploads\/assets\/sites\/16\/Hondros.Tal_.Afar_.jpg\" alt=\"\" class=\"wp-image-935\" srcset=\"https:\/\/cdn-staging.routledgelearning.com\/wp-content\/uploads\/assets\/sites\/16\/Hondros.Tal_.Afar_.jpg 545w, https:\/\/cdn-staging.routledgelearning.com\/wp-content\/uploads\/assets\/sites\/16\/Hondros.Tal_.Afar_-300x263.jpg 300w\" sizes=\"auto, (max-width: 545px) 100vw, 545px\" \/><figcaption class=\"wp-element-caption\"><strong>Chris Hondros<\/strong>,\u00a0<em>One Night in Tal Afar.<\/em>\u00a0January 2005. Color photograph. \u00a9 Chris Hondros \/ Getty Images.<\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">Victor Juhasz, Reportorial Illustration of Military<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"http:\/\/www.juhaszillustration.com\/index.php?gallery=gallery\/Reportorial\">http:\/\/www.juhaszillustration.com\/index.php?gallery=gallery\/Reportorial<\/a><\/p>\n\n\n\n<h2 class=\"wp-block-heading\">JENNIFER KARADY<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"http:\/\/www.jenniferkarady.com\/\">http:\/\/www.jenniferkarady.com\/<\/a><\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"545\" height=\"545\" src=\"https:\/\/cdn-staging.routledgelearning.com\/wp-content\/uploads\/assets\/sites\/16\/karady_soldier_jose_adams.jpg\" alt=\"\" class=\"wp-image-936\" srcset=\"https:\/\/cdn-staging.routledgelearning.com\/wp-content\/uploads\/assets\/sites\/16\/karady_soldier_jose_adams.jpg 545w, https:\/\/cdn-staging.routledgelearning.com\/wp-content\/uploads\/assets\/sites\/16\/karady_soldier_jose_adams-300x300.jpg 300w, https:\/\/cdn-staging.routledgelearning.com\/wp-content\/uploads\/assets\/sites\/16\/karady_soldier_jose_adams-150x150.jpg 150w\" sizes=\"auto, (max-width: 545px) 100vw, 545px\" \/><figcaption class=\"wp-element-caption\"><strong>Jennifer Karady<\/strong>,<em>\u00a0Former Sergeant Jose Adames, U.S. Marine Corps Recon, Stinger Gunner, 1st Platoon, Alpha Company, veteran of Operation Iraqi Freedom; Brooklyn, NY,\u00a0<\/em>February 2009. 48\u201dx 48\u201d Chromogenic Color Print.<\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">Michael Kimmelman, \u201cThe Gaze Turns Outward and Sees Estrangement\u201d, The New York Times, September 19, 2003<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"http:\/\/www.nytimes.com\/2003\/09\/19\/arts\/photography-review-the-gaze-turns-outward-and-sees-estrangement.html?pagewanted=all&amp;src=pm\">http:\/\/www.nytimes.com\/2003\/09\/19\/arts\/photography-review-the-gaze-turns-outward-and-sees-estrangement.html?pagewanted=all&amp;src=pm<\/a><\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Lily Burana, &#8220;As Memorial Day Nears, A Single Image That Continues to Haunt&#8221;, The New York Times, May 25, 2012<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"http:\/\/atwar.blogs.nytimes.com\/2012\/05\/25\/as-memorial-day-nears-a-single-image-that-continues-to-haunt\/?ref=warphotography\">http:\/\/atwar.blogs.nytimes.com\/2012\/05\/25\/as-memorial-day-nears-a-single-image-that-continues-to-haunt\/?ref=warphotography<\/a><\/p>\n\n\n\n<h2 class=\"wp-block-heading\">The Charles Willson Peale Family Papers (portaiture\/war)<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"http:\/\/www.npg.si.edu\/exh\/peale\/index-papers.htm\">http:\/\/www.npg.si.edu\/exh\/peale\/index-papers.htm<\/a><\/p>\n\n\n\n<h2 class=\"wp-block-heading\">The POrtrait, on George Washington: A National Treasure<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"http:\/\/www.georgewashington.si.edu\/portrait\/dress.html\">http:\/\/www.georgewashington.si.edu\/portrait\/dress.html<\/a><\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"527\" height=\"600\" src=\"https:\/\/cdn-staging.routledgelearning.com\/wp-content\/uploads\/assets\/sites\/16\/Peale_Washington_1772.jpg\" alt=\"\" class=\"wp-image-937\" srcset=\"https:\/\/cdn-staging.routledgelearning.com\/wp-content\/uploads\/assets\/sites\/16\/Peale_Washington_1772.jpg 527w, https:\/\/cdn-staging.routledgelearning.com\/wp-content\/uploads\/assets\/sites\/16\/Peale_Washington_1772-264x300.jpg 264w\" sizes=\"auto, (max-width: 527px) 100vw, 527px\" \/><figcaption class=\"wp-element-caption\"><strong>Charles Willson Peale,<\/strong>\u00a0<em>George Washington<\/em>, 1772. Oil on canvas. \u00a9 Charles Willson Peale (1741-1827)<br>Washington University, St. Louis, USA \/ The Bridgeman Art Library.<\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">Carol Kino, &#8220;Portraits of War,&#8221; The New York Times, May 25, 2012<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"http:\/\/www.nytimes.com\/2012\/05\/27\/arts\/design\/joe-bonham-project-illustrates-the-wounds-of-war.html?pagewanted=all\">http:\/\/www.nytimes.com\/2012\/05\/27\/arts\/design\/joe-bonham-project-illustrates-the-wounds-of-war.html?pagewanted=all<\/a><\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"545\" height=\"388\" src=\"https:\/\/cdn-staging.routledgelearning.com\/wp-content\/uploads\/assets\/sites\/16\/juhasz_SGT.-J.M.-ROSS-physical-therapy.jpg\" alt=\"\" class=\"wp-image-938\" srcset=\"https:\/\/cdn-staging.routledgelearning.com\/wp-content\/uploads\/assets\/sites\/16\/juhasz_SGT.-J.M.-ROSS-physical-therapy.jpg 545w, https:\/\/cdn-staging.routledgelearning.com\/wp-content\/uploads\/assets\/sites\/16\/juhasz_SGT.-J.M.-ROSS-physical-therapy-300x214.jpg 300w\" sizes=\"auto, (max-width: 545px) 100vw, 545px\" \/><figcaption class=\"wp-element-caption\"><strong>Victor Juhasz<\/strong>,\u00a0<em>Sgt J.M. Ross receiving some physical therapy on hands after removal of cast<\/em>, Bethesda Naval Hospital, May 22, 2011. Illustration courtesy of\u00a0<a href=\"http:\/\/www.juhaszillustration.com\/\">Victor Juhasz<\/a>.<\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">The U.S. Army Heritage and Education Center<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"http:\/\/www.ahco.army.mil\/site\/index.jsp\">http:\/\/www.ahco.army.mil\/site\/index.jsp<\/a><\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><em>Nagasaki Journey: The Photographs of Yosuke Yamahata<\/em>&nbsp;Exhibition, Exploratorium, San Francisco, CA<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"http:\/\/www.exploratorium.edu\/nagasaki\/photos.html#journey\/01.gif\">http:\/\/www.exploratorium.edu\/nagasaki\/photos.html#journey\/01.gif<\/a><\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"457\" height=\"300\" src=\"https:\/\/cdn-staging.routledgelearning.com\/wp-content\/uploads\/assets\/sites\/16\/yamahata_nagasaki_A94.jpg\" alt=\"\" class=\"wp-image-939\" srcset=\"https:\/\/cdn-staging.routledgelearning.com\/wp-content\/uploads\/assets\/sites\/16\/yamahata_nagasaki_A94.jpg 457w, https:\/\/cdn-staging.routledgelearning.com\/wp-content\/uploads\/assets\/sites\/16\/yamahata_nagasaki_A94-300x197.jpg 300w\" sizes=\"auto, (max-width: 457px) 100vw, 457px\" \/><figcaption class=\"wp-element-caption\"><strong>Yosuke Yamahata<\/strong>,\u00a0<em>Nagasaki (Untitled, A-9-4)<\/em>, August 10, 1945<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"465\" height=\"300\" src=\"https:\/\/cdn-staging.routledgelearning.com\/wp-content\/uploads\/assets\/sites\/16\/yamahata_nagasaki_a1320.jpg\" alt=\"\" class=\"wp-image-940\" srcset=\"https:\/\/cdn-staging.routledgelearning.com\/wp-content\/uploads\/assets\/sites\/16\/yamahata_nagasaki_a1320.jpg 465w, https:\/\/cdn-staging.routledgelearning.com\/wp-content\/uploads\/assets\/sites\/16\/yamahata_nagasaki_a1320-300x194.jpg 300w\" sizes=\"auto, (max-width: 465px) 100vw, 465px\" \/><figcaption class=\"wp-element-caption\"><strong>Yosuke Yamahata<\/strong>,\u00a0<em>Nagasaki (Untitled, A-13-20)<\/em>, August 10, 1945<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>The&nbsp;Reframing Photography:&nbsp;Theory and Practice&nbsp;book discusses many works and issues related to photography and war, including the ethics of reproduction, the relationship between the media, the government, and the public, how photography represented the &#8220;realities&#8221; of war, and censorship and suppression of imagery during war. A list of links with related research material is below. Margot [&hellip;]<\/p>\n","protected":false},"author":2,"parent":313,"menu_order":0,"template":"","meta":{"_acf_changed":false,"footnotes":""},"categories":[],"topic":[],"class_list":["post-929","content","type-content","status-publish","hentry"],"acf":[],"aioseo_notices":[],"aioseo_head":"\n\t\t<!-- All in One SEO Pro 5.0.0.1 - aioseo.com -->\n\t<meta name=\"description\" content=\"The Reframing Photography: Theory and Practice book discusses many works and issues related to photography and war, including the ethics of reproduction, the relationship between the media, the government, and the public, how photography represented the &quot;realities&quot; of war, and censorship and suppression of imagery during war. A list of links with related research material is below. 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