Classical Mexican Cinema, The: The Poetics Of The Exceptional Golden Age Films Ramírez Berg, Charles University Of Texas Press |
Modern Architecture In Latin America: Art, Technology, And Utopia Carranza, Luis E. / Luiz Lara, Fernando University Of Texas Press |
Architecture And Cities Of Northern México From Independence To The Present, The Burian, Edward University Of Texas Press |
Twentieth- Century Art Of Latin America Barnitz, Jacqueline / Frank, Patrick University Of Texas Press |
Border Odyssey: Travels Along The U. S. / México Divide D. Thompson, Charles Jr. University Of Texas Press |
María Izquierdo & Frida Kahlo: Challenging Visions In Modern Mexican Art Deffebach, Nancy University Of Texas Press |
Título: Photographing The Mexican Revolution Commitments, Testimonies, Icons | ||
Autor: Mraz, John | Precio: $720.00 | |
Editorial: University Of Texas Press | Año: 2012 | |
Tema: | Edición: 1ª | |
Sinopsis | ISBN: 9780292735804 | |
The Mexican Revolution of 1910-1920 is among the world's most visually documented revolutions. Coinciding with the birth of filmmaking and the increased mobility offered by the reflex camera, it received extraordinary coverage by photographers and cineastes_commercial and amateur, national and international. Many images of the Revolution remain iconic to this day_Francisco Villa galloping toward the camera; Villa lolling in the presidential chair next to Emiliano Zapata; and Zapata standing stolidly in charro raiment with a carbine in one hand and the other hand on a sword, to mention only a few. But the identities of those who created the thousands of extant images of the Mexican Revolution, and what their purposes were, remain a huge puzzle because photographers constantly plagiarized each other's images.
In this pathfinding book, acclaimed photography historian John Mraz carries out a monumental analysis of photographs produced during the Mexican Revolution, focusing primarily on those made by Mexicans, in order to discover who took the images and why, to what ends, with what intentions, and for whom. He explores how photographers expressed their commitments visually, what aesthetic strategies they employed, and which identifications and identities they forged. Mraz demonstrates that, contrary to the myth that Agustín Víctor Casasola was "the photographer of the Revolution," there were many who covered the long civil war, including women. He shows that specific photographers can even be linked to the contending forces and reveals a pattern of commitment that has been little commented upon in previous studies (and completely unexplored in the photography of other revolutions). |