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A chronicle of the frontline photographers of World War II recounts the sometimes harrowing exploits of the American Military Photographers, men armed with cameras who accompanied the Army, Marines, Air Force, and Navy into battle.
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Peter Maslowski is professor of history at the University of Nebraska-Lincoln.From Kirkus Reviews:
Maslowski (History/University of Nebraska at Lincoln) breaks fresh ground with a comprehensive history of WW II's anonymous heroes: its combat photographers. It may be that neither the brilliant general nor the loyal foot soldier was more crucial to America's WW II effort than the lowly combat photographer, who allowed civilians to witness what no one but soldiers had ever seen, and whose work proved invaluable to both generals and military analysts. The obstacles faced by these soldier/photographers were daunting: the weight of a motion-picture camera and film supply could stagger a man or a mule, and the official still camera was a Speed Graphic, so big and shiny that to pop it up from a foxhole invariably drew a hail of enemy bullets. The superior, lightweight German Leica camera was reverse- engineered by American labs but reached the front only in 1945; by then, however, American combat photographers had their own Leicas- -bought from looters. To assure the credibility of their film documentaries, the armed services had a strict policy of no ``reenactments''--but the trouble was, as one Omaha Beach veteran who later became a Hollywood director pointed out, the real thing didn't look as good as the movies: ``To do it right you'd have to blind the audience with smoke, deafen them with noise, then shoot one of them in the shoulder to scare the rest to death.'' The first great combat-movie breakthrough was John Huston's San Pietro, which documented the liberation of an Italian town. It was released to great acclaim (Time magazine declared that Huston's handiwork was ``as good a war film as any that has been made...remarkable in its honesty and excellence''), but in a fascinating display of historical sleuthing, Maslowski shows that many scenes in San Pietro were staged--including reenacted dialogue and ``dead Germans'' that were actually live GIs dressed in enemy uniforms. Virtuoso scholarship, formidably researched and exciting to read. -- Copyright ©1993, Kirkus Associates, LP. All rights reserved.
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Book Description Free Pr, Old Tappan, New Jersey, U.S.A., 1993. Hardcover. Condition: New. Dust Jacket Condition: New. Book is perfect in every way -- square and solid with sharp dust jacket -- you'll trumpet like a bull elephant once this book arrives at your door!!!. Seller Inventory # 026735
Book Description Free Press, 1993. Hardcover. Condition: New. Never used!. Seller Inventory # P110029202655
Book Description Free Press, U.S.A., 1993. Hardcover. Condition: New. Dust Jacket Condition: New. 1st Edition. New first edition clothbound hardcover in new dust jacket. Lightly remaindered on foot. Note that previous owner was a collector who carefully reinforced the dust jacket with what appears to be archival tape along the interior edges to prevent shelf wear. The book itself is in pristine new, clean, tight and unread condition. Seller Inventory # 045891
Book Description Free Press, 1993. Hardcover. Condition: New. Brand New!. Seller Inventory # VIB0029202655
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