No caption needed : iconic photographs, public culture, and liberal democracy.

By: Hariman, Robert.
Contributor(s): Lucaites, John Louis.
Material type: materialTypeLabelBookPublisher: Chicago : University of Chicago Press, 2011Description: xi, 419 p. : ill. ; 23 cm.ISBN: 9780226316123.Subject(s): Photography | Popular culture-United States-History | Mass media-Political aspects-United States-History-20th century | Photographs-Political aspects-United States-History | Photojournalism-United States-History-20th centuryDDC classification: 770.1HAR
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Enhanced descriptions from Syndetics:

<p>In No Caption Needed , Robert Hariman and John Louis Lucaites provide the definitive study of the iconic photograph as a dynamic form of public art. Their critical analyses of nine individual icons explore the photographs themselves and their subsequent circulation through an astonishing array of media, including stamps, posters, billboards, editorial cartoons, TV shows, Web pages, tattoos, and more. Iconic images are revealed as models of visual eloquence, signposts for collective memory, means of persuasion across the political spectrum, and a crucial resource for critical reflection.<br> Arguing against the conventional belief that visual images short-circuit rational deliberation and radical critique, Hariman and Lucaites make a bold case for the value of visual imagery in a liberal-democratic society. No Caption Needed is a compelling demonstration of photojournalism's vital contribution to public life.</p>

Reviews provided by Syndetics

CHOICE Review

Hariman (Northwestern Univ.) and Lucaites (Indiana Univ.) provide an intellectually engaging, highly informative examination of six iconic photographs of the1930s-80s, framed by three theoretical discussions of visual rhetoric. Professors of communication, the authors assume that public discourse and public arts contribute to the success of democracy. As such, iconic photographs function as public texts, first documenting a specific event and then being adopted by viewers--whether political cartoonists, artists, political demonstrators, advertisers, or ordinary citizens--for their own political or commercial uses. The multifaceted expropriation of the images results in diverse political meanings about group identity, community, and power in modern democratic societies. The authors explore images pertaining to rural poverty during the Great Depression, dissent against the Vietnam War, the democracy movement in China's Tiananmen Square, and the space tragedies of the Hindenburg and the Challenger. The book overflows with thought-provoking insights about the place of visual communication in public culture. Hariman and Lucaites's interpretation should help students and scholars navigate different scholarly viewpoints about understanding photographs. The footnotes include additional commentary and clarification for readers interested in scholarly debates and the explosion of Internet sources. Summing Up: Highly recommended. Upper-division undergraduates and above. M. Greenwald University of Pittsburgh