War primer 2
著者
書誌事項
War primer 2
MACK, 2018
Paperback ed
大学図書館所蔵 全1件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
First published as Kriegsfibel by Eulenspiegel Verlag, Berlin, 1955
Published as War primer, translated and edited with an afterword, notes and chronology by John Willett, by Libris, London, 1998
Published as War primer 2 by MACK, 2011
内容説明・目次
内容説明
Originally released in 2011 as a limited edition hardback, this paperback edition is a facsimile of the book which earned Adam Broomberg and Oliver Chanarin the 2013 Deutsche Boerse Photography Prize. War Primer 2 appropriates the first English-language version of Bertolt Brecht's remarkable 1955 Kriegsfibel in which Brecht combined press photographs from the World Wars with four-line poems. Compiled intermittently over three decades, Brecht's book was a visual and lyrical attack on war and its propagandists under modern capitalism. Shifting the critique to contemporary narratives perpetuated by the so-called 'War on Terror', Broomberg and Chanarin strategically overlay the pages of Brecht's War Primerwith images culled from the internet and generated by the actors, propagators and reporters of the contemporary conflict. Underlying this junction of two visual histories is a profound skepticism of mass media images. War Primer notably drew attention to the didactic role of photojournalism that served war's callous profiteers. The title deliberately recalled textbooks used to teach primary school children how to read, and the book, which used razor-sharp words to dismantle visual messages, effectively served as a manual, demonstrating how to "read" or "translate" press photographs - images that Brecht referred to as hieroglyphics in need of decoding. In War Primer 2, Brecht's pithy poems and choice of 20th-century images - bombed-out cities and battlefronts, Hitler and his henchmen, and wounded soldiers and refugees, among them - take on new implications when shrewdly juxtaposed with digital images and video screenshots of the Twin Towers attacks, torture in the Abu Ghraib jail, the execution of Saddam Hussain, and George W. Bush proudly offering up a Thanksgiving Day Turkey. When the artists' book was first published it raised pertinent questions concerning the historical, political and social currency of mass-media images generated by conflict. Now, in an age of "fake news", War Primer 2probes the power of images not only to narrate but also to create history.
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