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Inhaltsangabe: Between 1935 and 1942, photographers for the New Deal's Resettlement Administration-Farm Security Administration (FSA) captured in powerfully moving images the travail of the Great Depression and the ways of a people confronting radical social change. Those who speak of the special achievement of FSA photography usually have in mind such white icons as Dorothea Lange's "Migrant Mother" or Walker Evans's Alabama sharecroppers. But some six thousand printed images, a tenth of FSA's total, included black figures or their dwellings. At last, Nicholas Natanson reveals both the innovative treatment of African Americans in FSA photographs and the agency's highly problematic use of these images once they had been created. While mono-dimensional treatments of blacks were common in public and private photography of the period, such FSA photographers as Ben Shahn, Arthur Rothstein, and Jack Delano were well informed concerning racial problems and approached blacks in a manner that avoided stereotypes, right-wing as well as left-wing. In addition, rather than focusing exclusively on FSA-approved agency projects involving blacks - politically the safest course - they boldly addressed wider social and cultural themes. This study employs a variety of methodological tools to explore the political and administrative forces that worked against documentary coverage of particularly sensitive racial issues. Moreover, Natanson shows that those who drew on the FSA photo files for newspapers, magazines, books, and exhibitions often entirely omitted images of black people and their environment or used devices such as cropping and captioning to diminish the true range of the FSA photographers' vision.

From Library Journal: Natanson's agenda is revealed in the "Acknowledgments" to the text, where he thanks his parents for giving him "the courage to resist the formidable winds of Marxism and post-structuralism." The first chapter, entitled "Politics and Culture," borders on a testy rant against critical approaches (such as deconstructivist and feminist studies) that differ from Natanson's own. Obviously addressing an academic audience, Natanson discounts the ideas of Roland Barthes and Michel Foucault as well as those of several photohistorians who have published works on a Farm Security Administration imagery. He offers instead a methodology of "historical framing," i.e., contextual analysis. Originally a dissertation, the book offers a bounty of information laced with too much scholarly interpretation for the mainstream reader, although the chapters on Ben Shahn, Arthur Rothstein, and Russell Lee are somewhat more accessible. For academic collections.
- Kathy J. Anderson, Onondaga Cty. P.L., Syracuse, N.Y.
Copyright 1992 Reed Business Information, Inc.

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Natanson, Nicholas
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Buchbeschreibung Univ Tennessee Press, 1992. Paperback. Buchzustand: Acceptable. The cover image and date may vary. This is a used book. Potential defects may exist (folds, creases, highlighting, writing/markings, staining, stickers and/or sticker residue, ETC.) COAS Books, A Bookstore for Everyone. Ships Within 24 Hours - Satisfaction Guaranteed!. Buchnummer des Verkäufers mon0000962689

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Buchbeschreibung University of Tennessee. Soft cover. Buchzustand: Very Good. Buchnummer des Verkäufers 005135

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Buchbeschreibung Univ Tennessee Press, 1992. Paperback. Buchzustand: Used: Like New. Brand new item. Sealed in plastic. Gift quality condition. Buy with confidence! 100% satisfaction guaranteed. Buchnummer des Verkäufers 1706200003

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Buchbeschreibung University of Tennessee Press, Knoxville, TN, 1992. Paperback. Buchzustand: NEW. xii, 305 pp., illus., biblio., index; 23 cm. BRAND NEW. A fine copy. Still in publisher's shrinkwrap. Documentary photography, United States Farm Security Administration. "Between 1935 and 1942, photographers for the New Deal's Resettlement Administration-Farm Security Administration (FSA) captured in powerfully moving images the travail of the Great Depression and the ways of a people confronting radical social change. Those who speak of the special achievement of FSA photography usually have in mind such white icons as Dorothea Lange's 'Migrant Mother' or Walker Evans' Alabama sharecroppers. But some six thousand printed images, a tenth of FSA's total, included black figures or their dwellings. At last, Nicholas Natanson reveals both the innovative treatment of blacks in FSA photographs and the agency's highly problematic use of these images once they had been created. While mono-dimensional treatments of blacks were common in public and private photography of the period, such FSA photographers as Ben Shahn, Arthur Rothstein, and Jack Delano were well informed concerning racial problems and approached blacks in a manner that avoided stereotypes, right-wing as well as left-wing. In addition, rather than focusing exclusively on FSA-approved agency projects involving blacks - politically the safest course - they boldly addressed wider social and cultural themes. This study employs a variety of methodological tools, to explore the political and administrative forces that worked against documentary coverage of particularly sensitive racial issues. Moreover, Natanson shows that those who drew on the FSA photo files for newspapers, magazines, books, and exhibitions often entirely omitted images of black people and their environment or used devices such as cropping and captioning to diminish the true range of the FSA photographers' vision. / Nicholas Natanson holds a Ph.D. in American Studies from the University of Iowa and is an archivist in the Still Picture Branch, National Archives, Washington, D.C." - Publisher. Size: 8vo - over 7¾" - 9¾" tall. Buchnummer des Verkäufers 074349

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