Academic literature on the topic '1939-1945 Photography'
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Journal articles on the topic "1939-1945 Photography"
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Barceló Bauzà, Gabriel. "Photography and school culture in post-war Spain (1939-1945). A look at Majorca." Encounters in Theory and History of Education 17 (November 29, 2016): 93–118. http://dx.doi.org/10.24908/eoe-ese-rse.v17i0.6289.
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This article forms part of more extensive research on the changes that took place in school culture during the Fascist dictatorship in the years following the Spanish Civil War (1936-1939). That research is limited to the island of Majorca and draws from a variety of different sources, including photographs. The present paper focuses on analyzing the sources of such photographs, although other testimonies and sources are also taken into account when the conclusions are drawn. The elements featured here provide material for furthering the debate on the possibilities photography offers in detecting the changes and continuities in school culture at a time of radical political transformation.
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Lurie, Peter. "A Familiar Strangeness: American Fiction and the Language of Photography, 1939–1945 by Stuart Burrows." MFS Modern Fiction Studies 59, no. 4 (2013): 866–68. http://dx.doi.org/10.1353/mfs.2013.0058.
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Taylor, Jeremy E. "The ‘Occupied Lens’ in Wartime China: Portrait Photography in the Service of Chinese ‘Collaboration’, 1939–1945." History of Photography 43, no. 3 (July 3, 2019): 284–307. http://dx.doi.org/10.1080/03087298.2019.1662604.
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Barros, Gelka. "Beautiful and healthy! The women in the pages of Alterosa magazine (1939-1945) during the New State and the Americanization process of Brazil." Comunicação e Sociedade 32 (December 29, 2017): 211–29. http://dx.doi.org/10.17231/comsoc.32(2017).2758.
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The purpose of this paper is to analyze the discursive strategies present on illustrated magazine Alterosa. The aim is to understand the construction of Brazilian woman’s social role in the period 1939-1945, a scenario that has redefined the bodily standard, conforming social behavior through moral values based on marital order. The methodology used combines text content analysis and photography. The theoretical input subsidizes reflections, based on Scott (1995), Perrot (2000), Maia (2001), Del Priori (2003) and Matos (2003), aggregating contextual specificity from the New State in Goellner (2008) and Carvalho (2011). To understand the circumstances of the Americanization process it sought dialogue with Tota (2000). From the analysis it has been concluded that speeches published in the magazine about women, by indicating traces of a body education, lined with the US mass culture nationalist and with the project of President Getúlio Vargas, which was known as New State (1937-1945) and characterized by centralization of power, authoritarianism, populism, nationalism and anti-communism (Neto, 2013).
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Kuna, Jakub. "The Orthophotomap of Lublin 1944: from Luftwaffe photographs to map application – idea, methods, contemporary challenges of processing and publishing archival aerial photographs." Polish Cartographical Review 54, no. 1 (January 1, 2022): 123–42. http://dx.doi.org/10.2478/pcr-2022-0009.
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Abstract The origins of aerial photography can be traced back to the second half of the 19th century, and periods of World Wars contributed to the development of techniques for developing and disseminating aerial photographs for military purposes. In the literature, we find descriptions of the Polish Military Geographical Institute’s (WIG) use of aerial photography to update topographic maps of nearly 40% of the country’s area at the time. Unfortunately, the fate of the pre-war collection of photographs is difficult to establish. Given this, the aerial photographs from the period of the Second World War (German and Allied) constitute the oldest possible complete and consistent photographic documentation of Poland. The series of German prints (373-GXPRINTS) collected at the National Archives and Records Administration in College Park (NARA, USA) are maintained according to the most liberal policy on access and further use. At the same time, the organisation of the NARA archive and the extent to which the collection has been digitised (over one million images) leave a deficiency, and searching for images requires knowledge, methods and experience. In 2020–2021, the Department of Geomatics and Cartography of the Maria Curie-Skłodowska University implemented the project Development of the Ortophotomap of Lublin 1939–1945 (NCN, Miniatura 4.0. No. 2020/04/X/HS4/00382). The result of the project is a dedicated web portal https://ortolub.umcs.pl, consisting of a digital repository of aerial images, a map application and standardised GIS raster data services. The author believes this is a unique source base, with unprecedented detail. The publication of the project results under the Creative Commons CC-BY-SA 4.0 licence is intended to foster the widest possible use of wartime aerial images in scientific research and popularisation activities. The process of developing a historical orthophotomap, as presented in the article, is universal and can be repeated on any set of aerial photographs. At the same time, development work is needed to automate the operations as fully as possible. In conclusion, current challenges and prospects for the development of historical orthophotomaps of national coverage are indicated.
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Rezmer, Waldemar. "Kampania polska 1939 r. w historiografii III Rzeszy Wprowadzenie bibliograficzne do tematyki." Przegląd Historyczno-Wojskowy 23, no. 3 (2022): 119–47. http://dx.doi.org/10.32089/wbh.phw.2022.3(281).0005.
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The article presents the historiography of the Third Reich thematically related to the Poland campaign 1939. The publications were supposed to justify German invasion, glorify victory and create the myth of invincibility of the Wehrmacht. However, even amongst them it is possible to find works, which, after being subjected to severe critique, constitute an important source of information about the hostilities and the people who participated in them. They have a significant informative value. There are interesting photographs of soldiers, weapons, equipment and battlefields included in them. After 1945 German historians showed little interest in Poland campaign 1939. As a result, few scientific publications on that subject were prepared. Most of them are of fragmentary character.
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Oakley, Bryan A. "Storm Driven Migration of the Napatree Barrier, Rhode Island, USA." Geosciences 11, no. 8 (August 5, 2021): 330. http://dx.doi.org/10.3390/geosciences11080330.
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Napatree Point, an isolated barrier in southern Rhode Island, provides a case study of barrier spit migration via storm driven overwash and washover fan migration. Documented shoreline changes using historical surveys and vertical aerial photographs show that the barrier had little in the way of net change in position between 1883 and 1939, including the impact of the 1938 hurricane. The barrier retreated rapidly between 1945 and 1975, driven by both tropical and extra-tropical storms. The shoreline position has been largely static since 1975. The removal of the foredune during the 1938 hurricane facilitated landward shoreline migration in subsequent lower intensity storms. Dune recovery following the 1962 Ash Wednesday storm has been allowed due to limited overwash and barrier migration over the last several decades. Shoreline change rates during the period from 1945–1975 were more than double the rate of shoreline change between 1939 and 2014 and triple the rate between 1883 and 2014, exceeding the positional uncertainty of these shoreline pairs. The long-term shoreline change rates used to calculate coastal setbacks in Rhode Island likely underestimate the potential for rapid shoreline retreat over shorter time periods, particularly in a cluster of storm activity. While sea-level rise has increased since 1975, the barrier has not migrated, highlighting the importance of storms in barrier migration.
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Wood, James A. "A Soldier 's View: The Personal Photographs of Canadians at War, 1939–1945 (review)." University of Toronto Quarterly 77, no. 1 (2008): 386–87. http://dx.doi.org/10.1353/utq.0.0192.
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Boldan, Kamil. "Karlštejn Castle as ‘Bergungsdepot’ for the Historical Collections of the Land and University Library in Prague at the End of the Second World War." Acta Musei Nationalis Pragae – Historia litterarum 64, no. 3-4 (November 1, 2019): 6–19. http://dx.doi.org/10.2478/amnpsc-2019-0011.
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Abstract The article covers the history of the former Land and University Library in Prague (now the National Library) between 1939 and 1945. The activities of the library were to be supervised by a German commissioner appointed in 1940 – Josef Becker, First Director of the Prussian State Library. As his duties kept him primarily in Berlin, he appointed the younger Berlin bibliologist Carl Wehmer as his permanent deputy in Prague. Although their main task was clearly the Germanisation of the library, one cannot deny that they deserve some credit, for example for increasing the staff level of the institution. Yet their main merit lies in that many of the library collections seized by the Gestapo and other bodies were not shredded but taken to the Clementinum, the seat of the library. From 1943, they organised the evacuation of book collections to places outside of Prague, which was threatened by air raids. The transport was supervised by Emma Urbánková, the head of the department of manuscripts. Approximately 12,000 volumes of medieval manuscripts and printed Bohemica of the 16th–19th centuries were evacuated to Karlštejn Castle in wooden crates. They included the library’s most valuable manuscript – the Codex Vyssegradensis, a coronation evangeliary from the 11th century. At the castle, they were deposited in the Burgrave’s House as well as directly in the famous Chapel of the Holy Cross. The massive Zlatá Koruna (Golden Crown) monastery and the châteaux in Pohled and Horažďovice also served as depositaries for the book collections. By the beginning of 1945, a total of 582,000 volumes had been sent to these three premises. They included many historical book collections. The paper is accompanied by recently discovered photographs documenting the course of the book evacuation.
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Laflamme, Gaston. "Earliest documented report of Scleroderris canker in North America: damage believed until now to be caused by summer frost." Articles scientifiques 90, no. 3 (March 11, 2011): 89–95. http://dx.doi.org/10.7202/045777ar.
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In 1934, over 200,000 red pine (Pinus resinosa) seedlings were planted at Valcartier, near Quebec City. By 1939, more than 28% of these pines were dead. Fifteen years after plantation, red pine mortality reached 93% and the plantation was considered a total loss. Summer frost was thought to be the cause of red pine mortality, while white pine (Pinus strobus) trees planted at the same time were killed by white pine blister rust (Cronartium ribicola), without any trace of frost damage. However, while summer frost was not listed in insect and disease survey reports published from 1953 to 1993, it was reported in the Valcartier area. Analysis of archival documents and publications shows that Scleroderris canker caused by Gremmeniella abietina was responsible for this mortality. This disease was not known in Canada before 1960. Our diagnosis is based on the description of signs and symptoms, on photographs of damage and on samples collected on site. Gremmeniella abietina, North American race, was isolated and identified. The age of the trees confirms the identity of the plantation; the age of the cankers on residual pines shows that the disease reached the trunks around 1945. High snow depth - not frost - in topographic depressions created conditions conducive to the development of the disease at the epidemic level. This is the earliest documented report of Scleroderris canker in North America.
Dissertations / Theses on the topic "1939-1945 Photography"
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Rose, Josh. "When Reality Was Surreal: Lee Miller's World War II War Correspondence for Vogue." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4357/.
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During World War II, Lee Miller was an accredited war correspondent for Vogue magazine. Miller was trained as a surrealist photographer by Man Ray, and her wartime work, both photographic and written, is indicative of a combination of journalism and surrealism. This thesis examines Lee Miller's war correspondence within the context of Vogue magazine, establishing parallels between the photographs and writing to determine how surrealism informs it stylistically and ideologically. Using surrealist techniques of juxtaposition and an unmanipulated photographic style, and the surrealist concepts of the Marvelous and Convulsive Beauty, Miller presented the war as a surreality, or a surreal reality. This study concludes by using Miller's approach to suggest a new concept of journalistic practice: surrealist journalism.
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Henry, Yann. "Une Espagne borgne : la vision des photographes espagnols et étrangers durant la période médiane du franquisme (1945‐1959)." Thesis, Rennes 2, 2011. http://www.theses.fr/2011REN20059.
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Après la victoire militaire du général Franco, le 1er avril 1939, s’instaure en Espagne une dictature militaire et ecclésiastique. Un « temps du silence » commence pour les vaincus de la guerre. À partir de 1945, cependant, la dictature surnage après la défaite des régimes qui avaient été ses modèles ; elle va traverser plusieurs étapes. L’époque médiane du franquisme (1945-1959) sera celle de la consolidation du régime, qui s’affiche désormais comme nationalcatholique.Dans le domaine photographique, les pratiques professionnelle et amateur vont se heurter à de sévères et nombreux interdits, et l’imagerie nationale sera celle du repli sur soi, du respect des conventions. La photographie espagnole sera adepte du franquisme ou sa vassale obligée ; ses avant-gardes seront balayées, les reportages, muselés, et les mouvements rétrogrades, comme le pictorialisme tardif, magnifiés. Une photographie qui ne donnera qu’une vision borgne de la réalité, tant les sujets traités obéissent à une certaine nostalgie de commande, aux reflets maniérés et académiques d’un passé révolu.Un élan de modernité et des minces filets d’air libre surgiront néanmoins de la province – où naîtront des associations d’amateurs – ainsi que de la vision des quelques photographes étrangers qui parcourent l’Espagne à cette époque. En interrogeant les usages et les pratiques, en scrutant l’esthétisme de ces images, nous tenterons de savoir dans quellemesure, de quelle manière et jusqu’à quel point les photographes espagnols et étrangers ont pu représenter la société espagnole de 1945 à 1959. Les uns, dans un discours de légitimation d’un pouvoir en place ; les autres, dans un esprit moderniste et humanisteAfter General Franco’s victory on April 1st, 1939, a military and ecclesiastical dictatorship takes hold of Spain. A “time of silence” sets in for the vanquished of the war. After 1945, however, the dictatorship survives the demise of the political regimes it had modelled itself on and goes through several stages. Under the median period of Franquism (1945–1959), the regime, in a phase of consolidation, sets itself up as National-Catholic. In the realm of photography, both professional and amateur practices are up against harsh, manifold prohibitions, and the national imagery displays introversion and respect for conventions. Spanish photography proves the follower or mandatory vassal of Franquism; its avant-gardesare annihilated, its reports muzzled, while retrograde movements, such as late Pictorialism, are glorified. It conveys only a one-eyed vision of reality in that its subjects respond to a conventional nostalgia reflecting a bygone past in affected, academic fashion.However, a surge of modernity, as well as thin trickles of fresh air, emerges from the provinces –where amateur associations come into light– and from the vision of some foreign photographers then touring Spain. We will question common practices and scrutinize the esthetics of these images in order to find out how, to what extent and in what way theseSpanish and foreign photographers have managed to picture Spanish society between 1945 and 1959: some with a view to legitimizing the authorities in control, others in a modernist, humanist frame of mind
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Freire, Carlos Renato Araújo. "Quebra-quebra de 1942: um dia para lembrar." reponame:Repositório Institucional da UFC, 2014. http://www.repositorio.ufc.br/handle/riufc/25275.
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FREIRE, Carlos Renato Araújo. Quebra-quebra de 1942: um dia para lembrar. 2014. 154f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em História, Fortaleza (CE), 2014.Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-08-30T15:44:27Z No. of bitstreams: 1 2014_dis_crafreire.pdf: 7667117 bytes, checksum: 32c058bbf07d897943020cf9db891fdf (MD5)
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This text analyzes the History of Memory of the clash referred to as “Quebra-quebra” that took place on August 18th 1942 from the fortieth and fiftieth anniversary of World War II. Despite the retrospective importance that we assign to the event as one of the factors responsible for pressuring the government of Getúlio Vargas to declare war on the Axis powers, only from the 1980s are there intensifying eruptions of investments in memory that transform the depredations of the commercial establishments that had some relation to the Axis (Germany, Italy and Japan) in an event through its share in newspaper reports, memoirs, photographs, restoration and construction of monuments. Specifically analyzing memory investments of Thomaz Pompeu Gomes de Matos, Alberto Santiago Galeno, Stênio Azevedo, Geraldo Nobre and memories of some families of descendants of harmed immigrants, it intends to discuss the uses of the past in the present proposing questions about the relationships between individual memory and collective memory, the interaction between the past event and the present of utterances and the interweaving of the temporalities in the formalization of narratives that day processes. The event is seen here not as a surface environment, but rather as a way to observe the interweaving of possibilities in the present tense, not as an immutable data but as indefinite, uncertain and open to new configurations of meaning and significance.
Este trabalho analisa a História da Memória do Quebra-quebra do dia 18 de agosto de 1942 a partir do quadragésimo e quinquagésimo aniversário da Segunda Guerra Mundial. Malgrado a importância retroativa que poderíamos atribuir ao evento, como um dos fatores responsáveis por pressionar o Governo de Getúlio Vargas a declarar guerra aos países do Eixo, apenas a partir da década de 1980 que se intensificam as erupções de investimentos de memória que transformam as depredações a estabelecimentos comercias que tinham alguma relação com os países do Eixo (Alemanha, Itália e Japão) em um acontecimento através do seu compartilhamento em matérias de jornais, livros de memórias, fotografias, restauração e construção de monumentos. Analisando especificamente os investimentos de memória de Thomaz Pompeu Gomes de Matos, Alberto Santiago Galeno, Stênio Azevedo, Geraldo Nobre e as memórias de algumas famílias dos descendentes dos imigrantes prejudicados pretendemos discutir os usos do passado no presente propondo questionamentos sobre as relações entre memória individual e memória coletiva, a interação entre o passado do acontecimento e o presente das enunciações e o imbricamento entre as temporalidades no processo de formalização das narrativas desse dia. O acontecimento é encarado aqui não como uma superfície da conjuntura, mas sim como uma forma de observar os imbricamentos de possibilidades no presente do pretérito, não como um dado imutável, mas sim como indeterminado, incerto e aberto a novas configurações de sentido e significado.
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Parkmann, Fedora. "Paris-Prague. Transferts en photographie, 1918-1939." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040134.
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Cette thèse se propose d’étudier les transferts entre France et Pays tchèques dans le domaine de la photographie de l’entre-deux-guerres. Fondée sur une approche matérielle des circulations de personnes, d’images et de concepts, elle vise à définir la scène photographique tchèque en fonction de son rapport à la France et de ses métissages. L’enquête a porté sur les flux photographiques – reproductions photomécaniques et catalogues d’exposition – et les activités des médiateurs et photographes à l’intersection entre les deux pays. Elle a montré, d’une part, que les Pays tchèques furent non seulement un lieu de passage d’apports français, particulièrement marquants au regard des impulsions allemandes et russes, mais aussi un centre d’exportation d’une production photographique locale. Elle a révélé, d’autre part, les hybridations auxquelles a donné lieu l’accueil de la scène photographique française. Le courant surréaliste tchèque en fut l’exemple le marquant : dépassant le simple geste d’adhésion, cette production originale s’est à son tour exportée, à la faveur d’un processus de circulation et de transformation réciproques caractéristique du phénomène de transfert. Les séjours et expériences photographiques des Tchèques en France et leur contribution à l’ « école de Paris de la photographie » complètent ce panorama des interactions entre les deux pays. Le prisme des transferts culturels adopté dans notre étude a agi comme un révélateur d’acteurs, d’images et de concepts ignorés jusque-là des histoires nationales de la photographie. Il a également montré comment la réceptivité des photographes tchèques vis-à-vis de la France a pu, en retour, favoriser l’émergence du modernisme photographique dans leur paysThis dissertation sets forth to explicate the transfers that occurred in photography between France and the Czech Lands during the interwar period. Rooted in a material approach towards the various circulations of individuals, images and concepts, this study considers the Czech photographic scene in light of its specific relation to France and analyzes the resulting hybridizations. The research focuses on photographic vectors such as photomechanical reproductions, exhibition catalogues and the activities of mediators and photographers working between the two countries. It illuminates a network of relations between French, German and Russian impulses and describes also the export of a local photographic production. The Czech surrealist current is a prominent hybridization that resulted from the strong reception of the French photographic scene. It was exported again as an original Czech production, and as such exemplifies the process of mutual circulation and transformation that describes the concept of transfer. An expansive study of Czech journeys to France, their photographic experience of the country and their subsequent contribution to the “Paris school of photography” complete this overview of the interactions and transfers between both countries.By situating Czech photography within the discourse of cultural transfers, this dissertation reveals actors, images, concepts and developments that until now have been critically absent from national photography histories. It also demonstrates how the receptivity of Czech photographers to France in return favored the emergence of photographic modernism in their country
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Carvalho, Fábio Reynol de 1973. "Ciência de Almanaque = como as imagens de Eu Sei Tudo construiram uma guerra." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270454.
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Orientador: Antonio Carlos Rodrigues de AmorimDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Muito antes de uma guerra começar, uma outra fora construída no imaginário de leitores brasileiros. A guerra que ainda não começara era a Segunda Guerra Mundial. Aquela construída foi uma guerra mundial de contornos próprios gerada, principalmente, a partir dos efeitos provocados por imagens e por conjuntos imagem-texto publicados durante o ano de 1939 no almanaque Eu Sei Tudo, do Rio de Janeiro. Fotos, ilustrações e textos e o conjunto desses elementos distribuídos nas páginas da publicação proporcionaram interpretações, sensações, fantasias e movimentaram jogos de significação únicos e que vão além da lógica representacional formal e trazem novas visões e formam novos sujeitos. Reimaginar essas realidades e analisar os efeitos possíveis dessas matérias foram os eixos que guiaram este trabalho. Aproximar-se da potência e das potencialidades de uma fotografia e mergulhar nesse mar de significações fizeram parte da metodologia
Abstract: Well before starting the war, another one was built inside imagination of Brazilian readers. The not yet started war was the Second World War and the built one was a world war with its own contours generated due to effects of pictures and picture-text sets published during 1939 year at "Eu Sei Tudo" almanac, from Rio de Janeiro. Pictures, illustrations, texts and a set of these elements distributed on pages of that publication provided interpretations, sensations, fantasies and played unique games of significations which go beyond formal logic and bring new visions and form new subjects. Reimagining these realities and analyzing possible effects of the magazine stories were the base of this work and helped to guide it. Approaching the power and potentiality of a picture and diving into the sea of its significations made part of adopted methodology
Mestrado
Divulgação Científica e Cultural
Mestre em Divulgação Científica e Cultural
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Fontaine, François. "La Guerre d'Espagne (18/07/36-01/04/39) à travers la presse française illustrée." Paris 4, 2000. http://www.theses.fr/1999PA040168.
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La guerre d’Espagne est un évènement clé de l'histoire du XXe siècle qui préfigure par la violence de ses combats et son "internationalisation" la seconde guerre mondiale. Elle cristallise, dans un élan universel, tous les partis politiques et les engagements intellectuels de l'époque. Nous avons choisi de l'étudier à travers cinq quotidiens et cinq magazines français illustrés. La presse française dépêche un nombre impressionnant d'envoyés spéciaux journalistes et photographes- à travers toute l’Espagne. Un véritable déluge d'images -illustrant les deux camps en lutte- envahit les "unes" des journaux et les couvertures des magazines. Les photographes captent les moments décisifs du conflit en réalisant des reportages dont certains deviendront mythiques. Les reporters doivent braver une censure impitoyable et prennent de très grands risques qui couteront la vie à certains d'entre eux. Ils transmettent une information plus ou moins "objective" selon leur degré d'engagement et leur sympathie pour le camp où ils se trouvent. La presse française - dont une partie se veut "impartiale" - oscille constamment entre information et propagande, et censure parfois ses propres journalistes. Elle a participé à propager l'idée d'une "croisade nationaliste" et d'une "geste républicaine", en mythifiant certains évènements et certains personnages. La guerre d’Espagne reflète, par le miroir déformant de la presse illustrée française, une société divisée idéologiquement et politiquement, et marque la naissance du photojournalisme moderne.
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Mouleux, Guillaume. "La formation de la "meilleure des générations" : propagande et société aux Etats-Unis durant la Deuxième Guerre mondiale." Thesis, Sorbonne Paris Cité, 2018. https://theses.md.univ-paris-diderot.fr/MOULEUX_Guillaume_depot_2_20180921.zip.
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Cette thèse analyse l’importance de la propagande interne dont la population des Etats-Unis fit l’objet au cours de la Deuxième Guerre Mondiale dans les évolutions qui furent celles de la société américaine au cours du second vingtième siècle. Alors que la génération ayant grandi aux Etats-Unis durant la Grande Dépression puis servi sous une forme ou une autre l’effort national durant la Deuxième Guerre Mondiale aura par la suite tenu le premier rôle dans quelques unes des étapes les plus marquantes de l’histoire américaine de la seconde moitié du XXème siècle, lui valant le surnom de « Greatest Generation », il ne peut qu’apparaître intéressant de s’interroger sur l’influence qu’auront pu avoir les messages auxquels cette population a été exposée tout au long d’une guerre qui fut aussi, plus en tout cas que toute autre jusqu’alors, celle des images, mais aussi de s’intéresser aux racines historiques et culturelles de ces mêmes messages. Cette étude est axée sur trois angles principaux : tout d’abord, les représentations de l’altérité (ennemi, alliés comme victimes civiles du conflit) auprès de la population américaine, la construction de l’image des autres acteurs de ce conflit revêtant une importance toute particulière dans le contexte des Etats-Unis de l’époque où l’isolationnisme restait un courant de pensée important. Ensuite, la construction de messages communicationnels liant les images des soldats américains mobilisés au front et celle du « front intérieur » et plus précisément la façon dont l’une et l’autre s’entremêlèrent. Enfin, les rapports entre les messages propagandistes de l’époque et un certain nombre de questions sociales, notamment la façon dont ces messages ne promouvaient pas uniquement l’utilité de l’effort du moment mais laissaient aussi entrevoir une nouvelle société pour l’après-guerre, évidemment conditionnée par la victoireThis PhD dissertation analyses how the homefront propaganda the United States population was subjected to during the Second World War was important in shaping the evolutions the American society went through during the second half of the twentieth century. As the generations which had grown up in the US during the Great Depression then participated in a way or another to the national effort during World War II led the country through some of its most important historical milestones in the latter half of the century, prompting the “Greatest Generation” nickname, analyzing the influence of the messages these populations were subjected to during the war as well as considering the historical and cultural roots of these messages appear particularly both interesting and important, especially as this war was, more than any other was before, a war of images.This study develops three main angles. First, the way other populations (enemies, allies but also the civilian victims of the war) were represented to the American people, as constructing such images was all the more important in a context where isolationism still played an important role. Then, the way an imagery linking the soldiers “over there” at the front to the home front was built, and how both themes coexisted in many messages. Finally, the way propaganda messages of the time were linked not only with the then-present sacrifices but also with hints at a new society in the post-war period – provided of course the war was won
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Viraben, Hadrien. "Le savant et le profane : documenter l'impressionnisme en France, 1900-1939." Thesis, Normandie, 2018. http://www.theses.fr/2018NORMR095.
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En 1946, la parution à New York de l’Histoire de l’impressionnisme de John Rewald consacra l’aura d’une historiographie scientifique du mouvement, cautionnée par un investissement documentaire. Cette qualité l’opposait à un monde profane, dominé par une tradition orale et en particulier la réputation de certains témoignages. Un examen attentif ne saurait pourtant donner raison au postulat d’une nature exclusivement savante du document. Une documentation impressionniste se constitua en effet, dès le début du XXe siècle, par l’intermédiaire de producteurs hétéroclites, artistes, témoins, héritiers, critiques, journalistes, aussi bien qu’historiens professionnels, conservateurs et universitaires. Elle peut ainsi être envisagée autant comme le fruit d’une quête de la vérité factuelle que comme l’appropriation d’un objet d’étude populaire, à travers ses empreintes écrites et visuelles. L’appareillage des lectures de l’impressionnisme réunit de la sorte : les autographes ; les memorabilia, meubles ou immeubles chargés du souvenir des peintres ; les technologies photographique et cinématographique. Ces documents participaient en outre d’une culture visuelle plus vaste, incluant les monuments et les plaques commémoratives dans l’espace public, ou encore les motifs transformés par l’acte pictural en points de vue remarquables. L’étude historique et critique de l’écriture de l’histoire impressionniste comme (dé)monstration documentaire permet de revenir sur les circonstances sociales et visuelles de sa mise en œuvre, sur les enjeux de carrière auxquels elle participa, et sur les missions qui lui furent assignées au sein de différents discours sur l’art, savants et profanesIn 1946 the publication of John Rewald’s History of Impressionism in New York consecrated the aura of the movement’s scientific historiography, supported by documentary investment. This quality confronted laymen’s narratives, which oral tradition and some witness’s accounts’ reputations dominated. Yet, a close consideration could not agree with the assumption of an exclusive scholarly nature of the document. Since the beginning of the 20th century, varied producers, such as artists, witnesses, heirs, critics, journalists, as well as professional historians, museum curators and academics formed an impressionist documentation. It thus can be interpreted as a quest for factual truth, as much as an appropriation of a research object through its written and visual marks. The equipment of impressionist readings hence gathered are: autographs; memorabilia, movable and physical assets as souvenirs of artists; photographic and cinematographic technologies. Moreover, these documents fit into a broader visual culture which included monuments and commemorative plaques of the public sphere, or motives transformed by pictorial acts into remarkable viewpoints. A historical and critical study of such a writing of history as documentary (de)monstration allows here to look back to its execution’s social and visual contexts, the career issues in which it participated, the goals that had been assigned to it within both scholars’ and laymen’s art discourses
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Langendorff, Judith. "Le nocturne comme catégorie esthétique de l'image dans la photographie et le cinéma contemporains." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA085.
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À partir d’un corpus ouvert de photographes et de cinéastes coloristes qui ont une fascination pour le nocturne, cette thèse explore les différentes gradations et significations de celui-ci, des plus évidentes aux plus abstraites. La thèse s’attache alors à démontrer que le régime nocturne transforme l’obscurité en valeurs chromatiques et qu’il éclaire, avec une subtilité qu’occulte la vision diurne, les aspects les plus complexes de la société et de l’esprit humain. La confrontation des analyses de séquences filmiques et de photographies dans une perspective articulant esthétique, philosophie et histoire de l’art, a permis de construire la thèse autour de trois grandes notions, Distorsion, Sublimation, Transfiguration, qui fondent le nocturne comme catégorie esthétique de l’image.Le corpus principal organisé sur des critères externes (nocturne, couleur post-années 1960-70) et internes (processus esthétiques conjoints) est composé de séquences de films en couleurs de Stanley Kubrick (1928-1999), de David Lynch (1946), de Brian de Palma (1940), de Francis Ford Coppola (1939) et de séries photographiques de Gregory Crewdson (1962), Bill Henson (1955), Rut Blees Luxemburg (1967) et Daniel Boudinet (1945-1990).Le corpus secondaire est constitué de séries photographiques de Darren Almond (1971), Jean-Christian Bourcart (1960), Nicolas Dhervillers (1981), Laurent Hopp (1974), Chrystel Lebas (1966), d’extraits d’un court métrage d’Antoine Barraud (1973) et d’une série TV de Nic Pizzolatto (1975) et Justin Lin (1973), nécessaire pour finaliser la démonstrationBased on a large corpus of colorist film directors and photographers who share a fascination for the nocturne, this thesis explores the different gradations and meanings of this one, from the more obvious to the more abstracts. The thesis endeavours to demonstrate how the nocturne reasserts the darkness values to turn them into colors, and how it illuminates, with a subtlety absent in diurnal vision, the more complex aspects of society as well as the human mind.The confrontation between picture and film sequences analysis, with a perspective articulating aesthetic, philosophy and art history, leads to three main concepts: Distortion, Sublimation and Transfiguration. Thereby it establishes the nocturne as an image’s aesthetic category in cinema and photography.The main corpus in cinema and photography, organised by externals criteria (nocturne, post-1960-1970 years color) and internals criteria (similar operating processes aesthetic), is established with the movie extracts of Stanley Kubrick (1928-1999), David Lynch (1946), Brian de Palma (1940), Francis Ford Coppola (1939) as well as the photographic series of Gregory Crewdson (1962), Bill Henson (1955), Rut Blees Luxemburg (1967) and Daniel Boudinet (1945-1990).The second is based on the photographic series of Darren Almond (1971), Jean-Christian Bourcart (1960), Nicolas Dhervillers (1981), Laurent Hopp (1974) and Chrystel Lebas (1966), as well as Antoine Barraud’s (1973) movie extracts. Finally, for the requirement of the demonstration, a Nic Pizzolatto (1975) and Justin Lin (1973) TV show
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Martin, Jason. "La rhétorique de l'image de guerre dans le magazine Life de 1936 à 1946 : analyse critique et création d'un site web." Thèse, 2011. http://www.archipel.uqam.ca/4357/1/D2226.pdf.
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Je suis un designer graphique de formation. Après des études à la maîtrise en communication spécialisées en multimédia, je me suis consacré à la création d'applications numériques et de sites Web. Ce champ d'activité réunit mes habilités en tant que graphiste, programmeur et spécialiste en communication. J'ai un grand intérêt pour le pouvoir qu'exerce l'image sur la société, et en particulier pour le sujet de la guerre et de la propagande. En outre, la façon dont nous conservons et transmettons les objets culturels qui s'y rapportent m'intrigue et m'amène à questionner les vecteurs et les modes de transmission. LIFE magazine est un parfait exemple d'un objet culturel qui a traité le sujet de la guerre et qui a tablé sur le fait que l'image pouvait relater un événement et exprimer des idées. Ce magazine qui a accepté pendant la période de la Seconde Guerre mondiale de soutenir la position du gouvernement américain, a eu une présence importante dans les foyers des américains et à l'international. Cette thèse comporte deux volets : la création d'un site Web consignant les données visuelles et documentaires qui ont servi de base à la recherche que l'on retrouve dans le second volet, la thèse comme telle. Cette thèse examine le traitement photographique du magazine LIFE entre 1936 et 1946 quant à l'implication des Américains dans la Seconde Guerre mondiale. L'introduction présente d'abord le contexte historique de la Seconde Guerre mondiale, l'évolution de la position des États-Unis face à ce conflit et la naissance et la mission de la publication hebdomadaire LIFE. Elle aborde aussi le cadre théorique qui a servi à analyser ces photographies de guerre et les liens entre les photoreportages de LIFE et l'évolution de la position américaine. Le premier chapitre introduit l'approche méthodologique qui a servi pour la recherche et pour la création de l'œuvre multimédia. Le deuxième chapitre dévoile mon projet de recherche-création, qui est un site Web destiné aux images étudiées dans le cadre de cette thèse. Le troisième chapitre explore, par la médiologie, les différentes technologies existantes à l'époque de LIFE pour susciter une meilleure compréhension de la réalité et du rôle du média imprimé à l'époque de la Seconde Guerre mondiale. Le quatrième chapitre liste les figures de rhétorique retenues pour leur pertinence et la fréquence de leur occurrence. Le cinquième chapitre analyse les photos retenues en fonction des figures de rhétorique visant à démontrer qu'il y a un lien intime et dynamique entre les effets rhétoriques des images de guerre présentées par LIFE et les grands moments de l'histoire de la Seconde Guerre mondiale. La conclusion est appuyée de statistiques qui démontrent l'intérêt que LIFE apportait aux différents moments historiques. En ce qui concerne l'œuvre, nous pouvons le consulter à l'adresse suivante : www.images-de-guerre.org. Il s’agit d'un site Web dédié aux pages du LIFE de 1936 à 1946 qui ont eu pour sujet la guerre qu'elle soit une image de combat, un document photographique militaire démontrant les exploits, une image pour encourager les efforts de guerre de la maison jusqu'au front, une critique gouvernementale ou sociale, une image ludique pour démocratiser la science de la guerre, une photo satirique de l'ennemi, un cliché de célébrations, etc. Celui qui explore ce site peut accéder aux images soit par périodes chronologiques ou par une sélection thématique. Il peut également consulter une frise chronologique des événements historiques de cette période étudiée et voir les pages du LIFE qui relatent ces événements. Toutes les images présentées dans cette thèse s'y retrouvent avec leur analyse ainsi que plusieurs autres images qui ont été considérées, mais qui n'ont pas été retenues pour cette thèse. Par la suite, pour complémenter la lecture des internautes qui visitent ce site, ils peuvent consulter une section de type glossaire qui définit les figures de rhétorique expliquées à partir d'images sélectionnées et une section, qui explique les technologies et la médiologie de LIFE.
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Books on the topic "1939-1945 Photography"
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Paris au quotidien 1939-1945: Vu par Roger SCHALL. Paris, FRANCE: Le Cherche midi, 2005.
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Markon, Genya, and Sybil Milton. Photography and the Holocaust. London: Taylor & Francis, 1999.
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Rou*cka, Zden*ek. Plze*n pod hákovým k*rí*zem: Fotografie 1939-1945 = Pilsen under the svastika : photography 1939-1945. Plze*n: ZR&T, 2001.
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The Blitz: The photography of George Rodger. London, England: Penguin Books, 1990.
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Images in spite of all: Four photographs from Auschwitz. Chicago: The University of Chicago Press, 2008.
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Trespassing through shadows: Memory, photography, and the Holocaust. Minneapolis: University of Minesota Press, 1998.
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Carter, Ian. Coastal command 1939-1945: Photographs from the Imperial War Museum. Hersham, Surrey: Ian Allan, 2004.
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Nesbit, Roy Conyers. RAF Coastal Command in action, 1939-1945. Stroud, Gloucestershire: Sutton, in association with the Public Record Office, 1997.
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Bruce, Bernard, and Marlow Peter 1952-, eds. Humanity and inhumanity: The photographic journey of George Rodger. London: Phaidon Press, 1994.
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Tambrun, Catherine. Paris: Libéré, photographié, exposé = freed, photographed, exhibited = befreit, fotografiert, ausgestellt. Paris: Paris-Musées, 2014.
Find full textBook chapters on the topic "1939-1945 Photography"
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Polańska, Anna. "„Miasto–ruina”. Obraz powojennego Gdańska w fotografiach Kazimierza Lelewicza." In Oblicza Wojny. Tom 5. Miasto i wojna. Wydawnictwo Uniwersytetu Łódzkiego, 2021. http://dx.doi.org/10.18778/8220-699-9.18.
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Metropolises and cities have always fascinated artists, including those who use photography. World War II brought a hitherto unknown image of the city–ruins. Those who survived the annihilation made an attempt to depict the destruction. The photographs were supposed to be a testimony of the cruelty of war, and years later they also became material used by researchers from many scientific disciplines. Here emerges the specificity of showing the ruins in the context of a photo, which can be a document, but also a piece of art. The ruins became a journalistic and artistic challenge for the creators. Images of the destroyed cities began to be exhibited in museums and galleries, not only in the first years after the end of World War II. In Poland, the way of showing the devastation of Warsaw is symptomatic compared to the cities in the Recovered Territories. The capital has become a symbol of the drama of the whole country. The image of the city from before 1939 was often compared with the image of war damage. The photographs of the ruined: Gdańsk, Szczecin and Wrocław, had a slightly different message. In these cities, they looked for evidence of Polish identity, a centuries-old tradition and historical belonging to the Polish state. The views of the destroyed cities were juxtaposed with the image of the country’s reconstruction, emphasizing the new geopolitical order. It is estimated that ninety percent of the historic center of Gdańsk was destroyed during World War II. In the fall of 1945, Kazimierz Lelewicz (1896–1986), an engineer and artist-photographer by education, came to such a ruined city. He began a long process of documenting the destruction and reconstruction of Gdańsk. What is striking in Lelewicz’s photographs is the juxtaposition of the image of a city–ruin, an extinct, autonomous space, with a city-building, full of life. This combination of images of the urban tissue has a very symbolic and allegorical meaning. In this context, the image of the ruin and the way it was interpreted by Kazimierz Lelewicz is also worth considering. The topic itself provokes the consideration of the theme of ruin in the discourse of memory or oblivion.