Autor:
Verlag:
k. a.
Jahr:
1983
ISBN:
9780394507736
Medium:
Softcover
Sprache:
Englisch
Zustandsbeschreibung
ok, mit Gebrauchs-/Lagerspuren
rechte untere Ecke wellt sich etwas nach oben, ist wohl feucht geworden
keine Leserillen
rechte untere Ecke wellt sich etwas nach oben, ist wohl feucht geworden
keine Leserillen
Artikelbeschreibung
The popular culture of America from the late 1930s through five radically differing decades is projected through a brilliant and surprising collage of words and photographs in Signs of Life.
Reading this entirely original book, the adult takes on the role of the highly curious child poring over fascinating pictures as Alfred Appel explains, interprets, reveals, and throws a whole new light on what we see.
The pictures he shows us-some of them strange, some of them familiar-range from Helen Levitt's New York City (two street-cool kids à la Bogart and Cagney, ca. 1940) and Richard Avedon's frightening, straight-on portrait of Bogart taken in 1953, four years before he died, to Stephen Shore's Coronado Street, Los Angeles, Robert Frank's photo noire of a Detroit drive-in, and Evelyn Hofer's Powder Room, Radio City Music Hall, 1977.
The wide-ranging commentary accompanying each photograph shows us how to "read" the picture, not so much for its aesthetics as for its revelation of our lives and our times: the ways in which movies affect how we see, think, even how we move, and stand in repose... what images in the real world sadden us because we see them as metaphors of decay and death or stimulate us as symbols of power and success... images in which we suddenly see clearly how one decade differs from the decades that precede and follow it.
Showing us photographs we saw years ago in the old Life magazine, Appel takes us back to his— and our — state of mind at the time, to illuminate a whole network of cultural connections from the literary to the cinematic (coming out of ether, did we—as he did —see the nurse as Ann Sheridan?) to the political.
Among the photographs subjected to this kind of intense scrutiny: pictures by Dorothea Lange, Bruce Davidson, Lee Friedlander, William Eggleston, Diane Arbus, Ben Shahn, George Tice, Edward Weston, George Hurrell, Wright Morris, Bill Owens, Nathan Lyons, Weegee, Clarence Sinclair Bull, Joel Meyero-witz, Walker Evans, and Edward Steichen, as well as stills from movies, magazine covers, comics, etc.
In image after image, Appel guides us, letting us per-ceive— showing us how to notice—the inside dynamic of the photographs. Writing with ease and assurance, he opens up to us new ways of seeing, guides us to look for specifics and their associations, and helps us to move beyond the initial charm of the image to get at the "con-tent," the real information the image possesses.
The result is a book full of ideas about how the myriad aspects of culture reflect one another—a book that is at once idiosyncratic, authoritative, and fun to read.
Alfred Appel, Jr., was born in New York in 1934. He is a professor of English at Northwestern University and is the author of The Annotated Lolita and Nabokov's Dark Cinema. He has been the recipient of Guggenheim and Rockefeller fellowships and is currently working on a book about film noir.
Reading this entirely original book, the adult takes on the role of the highly curious child poring over fascinating pictures as Alfred Appel explains, interprets, reveals, and throws a whole new light on what we see.
The pictures he shows us-some of them strange, some of them familiar-range from Helen Levitt's New York City (two street-cool kids à la Bogart and Cagney, ca. 1940) and Richard Avedon's frightening, straight-on portrait of Bogart taken in 1953, four years before he died, to Stephen Shore's Coronado Street, Los Angeles, Robert Frank's photo noire of a Detroit drive-in, and Evelyn Hofer's Powder Room, Radio City Music Hall, 1977.
The wide-ranging commentary accompanying each photograph shows us how to "read" the picture, not so much for its aesthetics as for its revelation of our lives and our times: the ways in which movies affect how we see, think, even how we move, and stand in repose... what images in the real world sadden us because we see them as metaphors of decay and death or stimulate us as symbols of power and success... images in which we suddenly see clearly how one decade differs from the decades that precede and follow it.
Showing us photographs we saw years ago in the old Life magazine, Appel takes us back to his— and our — state of mind at the time, to illuminate a whole network of cultural connections from the literary to the cinematic (coming out of ether, did we—as he did —see the nurse as Ann Sheridan?) to the political.
Among the photographs subjected to this kind of intense scrutiny: pictures by Dorothea Lange, Bruce Davidson, Lee Friedlander, William Eggleston, Diane Arbus, Ben Shahn, George Tice, Edward Weston, George Hurrell, Wright Morris, Bill Owens, Nathan Lyons, Weegee, Clarence Sinclair Bull, Joel Meyero-witz, Walker Evans, and Edward Steichen, as well as stills from movies, magazine covers, comics, etc.
In image after image, Appel guides us, letting us per-ceive— showing us how to notice—the inside dynamic of the photographs. Writing with ease and assurance, he opens up to us new ways of seeing, guides us to look for specifics and their associations, and helps us to move beyond the initial charm of the image to get at the "con-tent," the real information the image possesses.
The result is a book full of ideas about how the myriad aspects of culture reflect one another—a book that is at once idiosyncratic, authoritative, and fun to read.
Alfred Appel, Jr., was born in New York in 1934. He is a professor of English at Northwestern University and is the author of The Annotated Lolita and Nabokov's Dark Cinema. He has been the recipient of Guggenheim and Rockefeller fellowships and is currently working on a book about film noir.
Schlagworte
World war two II 2
Kategorie
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