Tender Violence: Domestic Visions in an Age of U.S. Imperialism (Cultural Studies of the United States)

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9780807848838: Tender Violence: Domestic Visions in an Age of U.S. Imperialism (Cultural Studies of the United States)

Laura Wexler presents an incisive analysis of how the first American female photojournalists contributed to a "domestic vision" that reinforced the imperialism and racism of turn-of-the-century America. These women photographers, white and middle class, constructed images of war disguised as peace through a mechanism Wexler calls the "averted eye," which had its origins in the private domain of family photography.

Wexler examines the work of Frances Benjamin Johnston, Gertrude Kasebier, Alice Austen, the Gerhard sisters, and Jessie Tarbox Beals. The book includes more than 150 photographs taken between 1898 and 1904, such as photos Johnston took aboard Admiral Dewey's flagship as it returned home from conquering Manila, Austen's photos of immigrants at Ellis Island, and Beals's images of the St. Louis World's Fair of 1904.

In a groundbreaking approach to the study of photography, Wexler raises up these images as "texts" to be analyzed alongside other texts of the period for what they say about the discourses of power. Tender Violence is an important contribution not only to the fields of history of photography and gender studies but also to our growing understanding of U.S. imperialism during this period.

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"A politically sophisticated analysis of photographs as portrayal and betrayal. . . . [Reveals] the necessity of theory that goes beyond the discrete deployments of gender, race, class, and ethnicity formulas."-- Journal of American History

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Laura Wexler presents an incisive analysis of how the first American female photojournalists contributed to a "domestic vision" that reinforced the imperialism and racism of turn-of-the-century America. The images vary from Jessie Tarbox Beals' s pictures of the World's Fair of 1904 in St. Louis to Alice Austen's photos of immigrants at Ellis Island. Wexler also examines other women photographers of this period including Gertrude Kasebier, Frances Benjamin Johnston, and the Gerhard sisters.

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Book Description The University of North Carolina Press, United States, 2000. Paperback. Book Condition: New. New edition. Language: English . Brand New Book ***** Print on Demand *****. Laura Wexler presents an incisive analysis of how the first American female photojournalists contributed to a doctrine vision that reinforced the imperialism and racism of America around the dawn of the 20th century. These women photographers, white and middle class, constructed images of war disguised as peace through a mechanism Wexler calls the averted eye , which had its origins in the private domain of family photography. Wexler examines the work of Frances Benjamin Johnston, Gertrude Kasebier, Alice Austen, the Gerhard sisters and Jessie Tarbox Beals. The book includes over 150 photographs taken between 1898 and 1904, such as photos Johnston took aboard Admiral Dewey s flagship as it returned home from conquering Manila, Austen s photos of immigrants at Ellis Island, and Beal s images of the St Louis World s Fair of 1904. In a groundbreaking approach to the study of photography, Wexler raises up these images as texts to be analyzed alongside other texts of the period for what they say about the discourses of power. This study is relevant not only to the fields of history of photography and gender studies, but also to our growing understanding of US imperialism during this period. Bookseller Inventory # APC9780807848838

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Book Description The University of North Carolina Press, United States, 2000. Paperback. Book Condition: New. New edition. Language: English . Brand New Book ***** Print on Demand *****.Laura Wexler presents an incisive analysis of how the first American female photojournalists contributed to a doctrine vision that reinforced the imperialism and racism of America around the dawn of the 20th century. These women photographers, white and middle class, constructed images of war disguised as peace through a mechanism Wexler calls the averted eye , which had its origins in the private domain of family photography. Wexler examines the work of Frances Benjamin Johnston, Gertrude Kasebier, Alice Austen, the Gerhard sisters and Jessie Tarbox Beals. The book includes over 150 photographs taken between 1898 and 1904, such as photos Johnston took aboard Admiral Dewey s flagship as it returned home from conquering Manila, Austen s photos of immigrants at Ellis Island, and Beal s images of the St Louis World s Fair of 1904. In a groundbreaking approach to the study of photography, Wexler raises up these images as texts to be analyzed alongside other texts of the period for what they say about the discourses of power. This study is relevant not only to the fields of history of photography and gender studies, but also to our growing understanding of US imperialism during this period. Bookseller Inventory # APC9780807848838

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