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Closing the Last Sardine Cannery in America
At one time, sardines were an inexpensive staple for many Americans. The 212 photographs in this elegant volume offer a striking document of this now vanished industry. Generations of workers in Maine have snipped, sliced, and packed the small, silvery fish into billions of cans on their way to Americans' lunch buckets and kitchen cabinets. On April 15, 2010, Stinson's Seafood, once the home of Beach Cliff Sardines, shut down the packing line that had made the name world famous. Begun in 1927, Stinson's empire eventually included sardine canneries spread along the Maine coast and a fleet of ships to supply them. With this closing, however, the end of the entire sardine industry in Maine had finally arrived. Photographer Markham Starr was privileged to spend several days at the Stinson factory in Prospect Harbor, one month before it was dismantled, emerging with a collection of remarkable images that transform the parts of the cannery into works of art and capture the resilience of the workers faced with the loss of jobs many had held for decades. This book includes a short essay, and shows the heartland of Maine at its finest.
An Album of Union Soldiers and Their Stories
Before going off to fight in the Civil War, many soldiers on both sides of the conflict posed for a carte de visite, or visiting card, to give to their families, friends, or sweethearts. Invented in 1854 by a French photographer, the carte de visite was a small photographic print roughly the size of a modern trading card. The format arrived in America on the eve of the Civil War, which fueled intense demand for the convenient and affordable keepsakes. Considerable numbers of these portrait cards of Civil War soldiers survive today, but the experiences—and often the names—of the individuals portrayed have been lost to time. A passionate collector of Civil War–era photography, Ron Coddington became intrigued by these anonymous faces and began to research the history behind them in military records, pension files, and other public and personal documents. In Faces of the Civil War, Coddington presents 77 cartes de visite of Union soldiers from his collection and tells the stories of their lives during and after the war. The soldiers portrayed were wealthy and poor, educated and unschooled, native-born and immigrant, urban and rural. All were volunteers. Their personal stories reveal a tremendous diversity in their experience of war: many served with distinction, some were captured, some never saw combat while others saw little else. The lives of those who survived the war were even more disparate. While some made successful transitions back to civilian life, others suffered permanent physical and mental disabilities, which too often wrecked their families and careers. In compelling words and haunting pictures, Faces of the Civil War offers a unique perspective on the most dramatic and wrenching period in American history.
An Album of Southern Soldiers and Their Stories
“The history of the Civil War is the stories of its soldiers,” writes Ronald S. Coddington in the preface to Faces of the Confederacy. This book tells the stories of seventy-seven Southern soldiers—young farm boys, wealthy plantation owners, intellectual elites, uneducated poor—who posed for photographic portraits, cartes de visite, to leave with family, friends, and sweethearts before going off to war. Coddington, a passionate collector of Civil War–era photography, conducted a monumental search for these previously unpublished portrait cards, then unearthed the personal stories of their subjects, putting a human face on a war rife with inhuman atrocities. The Civil War took the lives of 22 of every 100 men who served. Coddington follows the exhausted survivors as they return home to occupied cities and towns, ravaged farmlands, a destabilized economy, and a social order in the midst of upheaval. This book is a haunting and moving tribute to those brave men. Like its companion volume, Faces of the Civil War: An Album of Union Soldiers and Their Stories, this book offers readers a unique perspective on the war and contributes to a better understanding of the role of the common soldier.
The phenomenon of risk has been seriously neglected in connection with the study of film, yet many of those who write about film seem to have intuitions about how various forms of risk-taking shape aspects of the filmmaking or film-viewing process. Film and Risk fills this gap as editor Mette Hjort and interdisciplinary contributors discuss film’s relation to all types of risk. Bringing together scholars from philosophy, anthropology, film studies, economics, and cultural studies, as well as experts from the fields of law, filmmaking, and photojournalism, this volume discusses risk from multiple intriguing angles. In thirteen chapters, contributors consider concrete risks (e.g., stunts or financial decisions); theoretical aesthetic and artistic risks (e.g., filmmakers who incorporate excessive hazards into their films); and the real-world jeopardy spectators might put themselves in when viewing films. The first three chapters tackle the conceptual terrain that is relevant to understanding risk in film. The next three chapters focus on risk as it pertains to the practice of filmmaking. Subsequent chapters deal with economic risk and the role that risk has in the development of film’s institutional landscape. The scholarship in this collection is impressive, boasting some of the top writers in their respective fields. Through the contributors’ clear and thorough discussions, this cohesive but diverse collection shows that risk arises in many different areas that tend to be thought of as central to film studies. Scholars of film studies will appreciate this daring and inventive collection, and readers with a general interest in film studies will enjoy its accessible style.
Theodore Roosevelt to Walt Disney
Environmental Justice in East Texas
In 1982, a toxic waste facility opened in the Piney Woods in Winona, Texas. The residents were told that the company would plant fruit trees on the land left over from its ostensible salt-water injection well. Soon after the plant opened, however, residents started noticing huge orange clouds rising from the facility and an increase in rates of cancer and birth defects in both humans and animals. The company dismissed their concerns, and confusion about what chemicals it accepted made investigations difficult. Outraged by what she saw, Phyllis Glazer founded Mothers Organized to Stop Environmental Sins (MOSES) and worked tirelessly to publicize the problems in Winona. The story was featured in People , the Houston Chronicle magazine, and The Dallas Observer . The plant finally closed in 1998, citing the negative publicity generated by the group. This book originated in 1994 when Cromer-Campbell was asked by Phyllis Glazer to produce a photograph for a poster about the campaign. She was so touched by the people in the town that she set out to document their stories. Using a plastic Holga camera, she created hauntingly distorted images that are both works of art and testaments to the damage inflicted on the people of a small Texas town by one company’s greed. In the accompanying essays, Phyllis Glazer describes the history of Winona and the fight against the facility; Roy Flukinger discusses Cromer-Campbell's striking photographic technique; Eugene Hargrove explores issues of environmental justice; and Marvin Legator elaborates on how industry and government discourage victims of chemical exposure from seeking or obtaining relief.
A Kite’s View of Wisconsin
This full-color book of photographs records Wisconsin from an unusual viewpoint: a camera suspended from a kite and controlled by photographer Craig M. Wilson from the ground. Taken from fifty to a few hundred feet in the air, Wilson’s photos capture natural and man-made views that wouldn’t otherwise be possible. The result is a vibrant collection that captures Wisconsin in all its shifting beauty in landscapes and cityscapes, festivals, Door County’s lighthouses, Milwaukee’s neighborhoods, and the crowd at a Badger football game. Captions are provided in English, Spanish, German, and Mandarin Chinese.
African Wisdom in Image and Proverb
I Am Because We Are features 125 black and white photographs by Betty Press taken all over East and West Africa since 1987, combined with related African proverbs compiled by Annetta Miller, an American born in Tanzania.
The book highlights the importance of proverbs in educating members of African societies on how to think, how to behave, and how to have a better life. Press took these photographs with the goal of making a significant educational and artistic contribution to the appreciation and understanding of African culture and society as well as our own.
The photographs of daily life deal with knowledge, cooperation, love, beauty, friendship, hope, humor, sorrow, happiness, gratitude, dance, tradition, faith, peace, war, death, and human relationships. These are the same themes found in African proverbial language. Thus came the natural idea of coupling images with proverbs. Together they offer a powerful expression of African life and the universality of human emotions, ideas, and knowledge.
A symbol of Indiana's past, the covered bridge still evokes feelings of nostalgia, romance, and even mystery. During the 19th century, over 500 of these handsome structures spanned the streams, rivers, and ravines of Indiana. Plagued by floods, fire, storms, neglect, and arson, today fewer than 100 remain. Marsha Williamson Mohr's photographs capture the timeless and simple beauty of these well-traveled structures from around the state, including Parke County—the unofficial covered bridge capital of the world. With 105 color photographs, Indiana's Covered Bridges will appeal to everyone who treasures Indiana's rich architectural heritage.
Film, Photography, and Popular Culture
From an analysis of the Guinness brand’s reflection of Irish identity to an exploration of murals and film portrayals of political prisoners, this pioneering collection of essays seeks to present Ireland’s relationship to visual culture as a whole. While other works have explored the imagistic history of Ireland, most have restricted their lens to a single form of visual representation. Ireland in Focus is the first book to address the diverse range of visual representations of national and communal identity in Ireland. The contributors examine the politics of visual representation from both historical and contemporary perspectives. Drawing from the areas of cultural theory, postcolonial studies, art criticism, documentary and archival history, and gender studies, the essays provide novel insights on a variety of visual-cultural forms, including film, theater, photography, landscape art, political murals, and the visual iconography of commercial marketing. Bringing together established scholars and emerging young critics in the field, Ireland in Focus breaks new ground in showcasing the essential dynamism of visual culture and its relationship to Irish studies