MARC Record from harvard_bibliographic_metadata

LEADER: 03085cam a2200397 a 4500
001 012240105-0
005 20100421091711.0
008 090714s2010 nhua b 001 0 eng
010 $a 2009026506
020 $a9781584658023 (pbk. : alk. paper)
020 $a1584658029 (pbk. : alk. paper)
035 0 $aocn318876272
040 $aDLC$cDLC$dYDX$dCDX$dYDXCP$dBWX$dMH-FA
043 $an-us---
050 00 $aTR23$b.D84 2010
082 00 $a770.97309045$222
100 1 $aDuganne, Erina.
245 14 $aThe self in black and white :$brace and subjectivity in postwar American photography /$cErina Duganne.
246 3 $aRace and subjectivity in postwar American photography
260 $aHanover, N.H. :$bDarthmouth College Press :$bUniversity Press of New England,$cc2010.
300 $axi, 236 p. :$bill. ;$c23 cm.
490 1 $aInterfaces : studies in visual culture
504 $aIncludes bibliographical references and index.
505 0 $aIntroduction: The self in black and white -- Beyond the "Negro point of view" : the Kamoinge Workshop's "Harlem" portfolio -- Bruce Davidson's "American Negro" photographs in context -- Getting down to the feeling : Bruce Davidson, Roy DeCarava, and the Civil Rights Movement -- Roy DeCarava, Harlem, and the psychic self -- Epilogue: Dawoud Bey and the act of reciprocity.
520 $aSynopsis: The Self in Black and White is a fascinating and original study of the ways in which notions about race and the self were formed, perpetuated, and contested in American photography during the 1950s, '60s, and '70s, with an emphasis on images of the civil rights movement and the War on Poverty. Author Erina Duganne opens with a discussion of the Kamoinge Workshop, an African American photographers' collective from the 1960s. She goes on to discuss the 1965 government-sponsored photography exhibition "Profile of Poverty" which sought to stir up emotional support for the War on Poverty via "documentary" images of poverty and race. She analyzes the complex interconnections of race and artistic subjectivity through a comparison of the careers of Bruce Davidson, who was often praised for the artistic merit of his civil rights images, and Roy DeCarava, who was singled out for the "authenticity" of his Harlem photographs. The Self in Black and White is a compelling interdisciplinary consideration of the eye behind the camera and the formative power it wields.
650 0 $aPhotography$xSocial aspects$zUnited States$xHistory$y20th century.
651 0 $aUnited States$xRace relations$y20th century.
650 0 $aAfrican Americans$xRace identity.
650 0 $aAfrican American photographers.
650 0 $aCivil rights movements$zUnited States$xHistory$y20th century.
650 0 $aPhotography in ethnology$zUnited States.
655 7 $aHistory.$2fast
776 08 $iOnline version:$aDuganne, Erina.$tSelf in black and white.$dHanover, N.H. : Darthmouth College Press : University Press of New England, ©2010$w(OCoLC)665111780
830 0 $aInterfaces, studies in visual culture.
988 $a20100310
906 $0DLC