Old Fields: Photography, Glamour, and Fantasy Landscape

Notes

=_% notes Introduction . Academics dismiss the importance of the poetry of Robert Frost, for example , by pointing out that “New England is no longer rural.” Such comments confuse undergraduates from rural New England and o"en upset them. . Frazier, Cold Mountain, –, addresses the concept of living fully in a place over decades by reducing the scale of observation. . While important, the distinction lies beyond the scope of this book; see Effland, “When Rural Does Not Equal Agricultural.” . The name dates to the s. My students easily accept my raising hens; only when they realize I sometimes slaughter flocks do they become uncomfortable . Many have never killed an animal larger than an insect. . I have been unable to find any scholarship defining the division that occurred as television reception improved in rural and small-town regions a"er the middle s. . In part, our interests developed from those of our fathers, who passed their Depression-era boyhood pastimes directly to us, sometimes with their toys or tools or sporting equipment. . The repair of antique box cameras o"en involves nothing more than reattaching shutter springs. . W. S. Davis, “Photography in Fog,” addresses some of the dangers. . “Photographing Your Own Playmate ” is the sort of technical article that impressed me. . This is another distinction beyond the scope of this book, but one perhaps crucial in understanding the power of cinema and television over girls a"er about  to . . See, for example, Bischoff, Brown, and Richardson, Personal Demon; and Ball, Mathemagics. . My students formally studying photography still learn the necessity of good composition, but most others speak glibly of “fixing” images with Adobe Photoshop and other so"ware. . Brown, Da Vinci Code, is a useful introduction to the new genre. . The graphic novel emerging from comic books proves a contradictory current , of course; see, for example, Gaiman et al., Sandman. . Chödrön, When Things Fall Apart, , offers a useful illustration. . See Vogel, Cagan, and Boatwright , Design of Things to Come, –. Bookstores shelve works by Joshilyn Jackson away from the fantasy section too; see her The Girl Who Stopped Swimming. . Garreau, “Perfecting the Human,” offers a useful introduction to the imminence of the imminent; see also Greenman , “Watson.” . Salvatore, Woods Out Back, –. . Nutting, Photographic Art Secrets, . . Stilgoe, Landscape and Images, –. . See John Muller, “Landscapes,” in Prize-Winning Photography, –. . Crawford and Keiller, Wessex from the Air, . . Cooper, Greenwitch, addresses this; see esp. –. . Sousa, “All in the Family.” . T. Brown, Way of the Scout. . The creation of new life forms fixes undergraduate attention. . While some fantasy illustrators have websites, informal connections link =_= notes to pages Q–^_ artists with authors and publishers. See Westfall, Slusser, and Plummer, Unearthly Visions, for an introduction. . Newton, Pages from the Glossies. . Leibovitz, “Let the Games Begin,” welds fashion model imagery and photography of athletes in a way that makes the athletes supernatural. L. Collins , “Pixel Perfect,” offers a popularized introduction to the shop-theory techniques of altering digital photographs of models and other celebrities. . For an exception, see Theweleit, Männerphantasien. . See, for example, Breward, Fashion; Calefato, Clothed Body; and Lehmann, Tigersprung. Lord, Forever Barbie, sometimes probes more deeply than recent scholarship. . Barry, Complete Book, emphasizes this view. . On the creation of avatars, see Bans, “Same Shit, Different World.” . Mack, Heart Religion in the British Enlightenment; see also Hempton, “Enchantment and Disenchantment.” . On the relation of vision and cameras, see Ericksenn, Medium Format Photography, –. . Nutting, Photographic Art Secrets, –. . I. Berger, “New Cameras Revive an Old Format.” . Screen format deserves a monograph. . Almost no automobiles offer centerline steering wheels. . For an introduction, see Walser, Golden Section. . Heering, Rolleiflex Book, . . Adams, “Exposition,” . . While Heering did not explicitly worry about the ability of language to carry his message, Mortensen did; see his “More About Projection Control,” . . Friedberg, Virtual Window, esp. –, , offers an excellent introduction to Edison-based aspect ratios; see also Heath, Questions of Cinema, –. . Eisenstein, Film Essays, –, , –, , , . . Nutting argued for vertical images of landscape; see Photographic Art Secrets, . . Architectural theory may not apply to any cinema house built a"er about ; see Forty, Words and Buildings , –. . See, for example, Schlobin, Aesthetics. . When a few friends thought the square old-fashioned, I enlarged and printed part of the negative in rectangular format. . Cooper, Greenwitch, –. . The Rolleiflex lately figures in many Tokyo advertisements and billboards , photos of which have been sent to me by observant alumni who have not thought to gather proper bibliographical data. . Kelland, “Romance” (), makes clear that glamour perhaps...