LEADER 00000cam a22004697a 4500 
001    19072799 
003    SE-LIBR 
003    LIBRIS 
008    110516s2011    xxuaa         001 0 eng   
010    2011013101 
020    9780143124252 
020    0143124250 
024 8  40019806457 
041    eng 
082 04 770.9|223/swe 
084    Inaa|2kssb/8 
092 0  770|bengelska 
100 1  Morris, Errol,|4aut 
245 10 Believing is seeing :|bobservations on the mysteries of 
       photography /|cErrol Morris 
264  1 New York :|bPenguin Press,|c2011 
300    xxv, 310 pages :|billustrations (some color), map ;|c24 cm
336    text|btxt|2rdacontent 
337    unmediated|bn|2rdamedia 
338    volume|bnc|2rdacarrier 
380    Bibliography 
504    Includes bibliographical references and index 
505 8  Crimean war essay (intentions of the photographer) -- Abu 
       Ghraib essays (photographs reveal and conceal -- 
       Photography and reality (captioning, propaganda, and 
       fraud) -- Civil War (photography and memory) 
520    Academy Award-wining filmmaker Errol Morris investigates 
       the hidden truths behind a series of documentary 
       photographs. In Believing Is Seeing Academy Award-winning 
       director Errol Morris turns his eye to the nature of truth
       in photography. In his inimitable style, Morris untangles 
       the mysteries behind an eclectic range of documentary 
       photographs, from the ambrotype of three children found 
       clasped in the hands of an unknown soldier at Gettysburg 
       to the indelible portraits of the WPA photography project.
       Each essay in the book presents the reader with a 
       conundrum and investigates the relationship between 
       photographs and the real world they supposedly record. 
       During the Crimean War, Roger Fenton took two nearly 
       identical photographs of the Valley of the Shadow of Death
       -one of a road covered with cannonballs, the other of the 
       same road without cannonballs. Susan Sontag later claimed 
       that Fenton posed the first photograph, prompting Morris 
       to return to Crimea to investigate. Can we recover the 
       truth behind Fenton's intentions in a photograph taken 150
       years ago? In the midst of the Great Depression and one of
       the worst droughts on record, FDR's Farm Service 
       Administration sent several photographers, including 
       Arthur Rothstein, Dorothea Lange, and Walker Evans, to 
       document rural poverty. When Rothstein was discovered to 
       have moved the cow skull in his now-iconic photograph, 
       fiscal conservatives-furious over taxpayer money funding 
       an artistic project-claimed the photographs were liberal 
       propaganda. What is the difference between journalistic 
       evidence, fine art, and staged propaganda? During the 
       Israeli-Lebanese war in 2006, no fewer than four different
       photojournalists took photographs in Beirut of toys lying 
       in the rubble of bombings, provoking accusations of posing
       and anti-Israeli bias at the news organizations. Why were 
       there so many similar photographs? And were the accusers 
       objecting to the photos themselves or to the conclusions 
       readers drew from them? With his keen sense of irony, 
       skepticism, and humor, Morris reveals in these and many 
       other investigations how photographs can obscure as much 
       as they reveal and how what we see is often determined by 
       our beliefs. Part detective story, part philosophical 
       meditation, Believing Is Seeing is a highly original 
       exploration of photography and perception from one of 
       America's most provocative observers 
650  0 Documentary photography 
650  0 Photographic criticism 
650  0 Photography|xHistory 
650  7 Dokumentärfotografi|xteori, filosofi|2sao 
907 00 180220