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Shooting from the Hip: Photography, Masculinity, and Postwar America
 
 
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Shooting from the Hip: Photography, Masculinity, and Postwar America [Hardcover]

Patricia Vettel-Becker (Author)
5.0 out of 5 stars  See all reviews (1 customer review)

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Book Description

March 1, 2005
In Shooting from the Hip, Patricia Vettel-Becker reveals how photography helped to reconstruct and redefine the American idea of masculinity after the traumas of World War II. She argues that from 1945 to 1960 photography became increasingly concerned with restoring the male body and psyche, glorifying traditional masculinity - cowboys, boxers, athletes, military men - while treading carefully in an increasingly homophobic Cold War climate. Examining photojournalism as well as art and fashion photography, Shooting from the Hip finds in the crisp images of postwar photography five models of masculinity - the breadwinner, the action hero, the tough guy, the playboy, and the rebel. Vettel- Becker shows how the professionalization of photography itself was an attempt by male photographers to identify themselves as breadwinners. She goes on to analyze combat photography, exposing its valorization of action, subjugation of the enemy, and the use of the blurred shot to signify credibility. She links street photography - heir to Depression-era social documentary - with hard-boiled crime photography, exemplified in the works of William Klein and Weegee. And sexualized fashion models and their relationships with photographers, such as Richard Avedon and Irving Penn, fuel the ideal of the consummate playboy. Finally, Vettel-Becker demonstrates the authentic and sometimes rebellious nature of the male body as presented by sports photographers and others influenced by the Beat generation, including Robert Frank and Bruce Davidson. Taking a wide view of postwar photography, Vettel-Becker presents it as the triumph of a new form of modernist photography, centered on individual expression and the seductive image of the male body, and stimulated by a quest for the existential truth of masculinity.

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Book Description

In Shooting from the Hip, Patricia Vettel-Becker reveals how photography helped to reconstruct and redefine the American idea of masculinity after the traumas of World War II. She argues that from 1945 to 1960 photography became increasingly concerned with restoring the male body and psyche, glorifying traditional masculinity - cowboys, boxers, athletes, military men - while treading carefully in an increasingly homophobic Cold War climate. Examining photojournalism as well as art and fashion photography, Shooting from the Hip finds in the crisp images of postwar photography five models of masculinity - the breadwinner, the action hero, the tough guy, the playboy, and the rebel. Vettel- Becker shows how the professionalization of photography itself was an attempt by male photographers to identify themselves as breadwinners. She goes on to analyze combat photography, exposing its valorization of action, subjugation of the enemy, and the use of the blurred shot to signify credibility. She links street photography - heir to Depression-era social documentary - with hard-boiled crime photography, exemplified in the works of William Klein and Weegee. And sexualized fashion models and their relationships with photographers, such as Richard Avedon and Irving Penn, fuel the ideal of the consummate playboy. Finally, Vettel-Becker demonstrates the authentic and sometimes rebellious nature of the male body as presented by sports photographers and others influenced by the Beat generation, including Robert Frank and Bruce Davidson. Taking a wide view of postwar photography, Vettel-Becker presents it as the triumph of a new form of modernist photography, centered on individual expression and the seductive image of the male body, and stimulated by a quest for the existential truth of masculinity.

About the Author

Patricia Vettel-Becker is assistant professor of art history at Montana State University, Billings and author of articles that have appeared in American Art, Art Journal, Men and Masculinities, and Genders.

Product Details

  • Hardcover: 224 pages
  • Publisher: Univ Of Minnesota Press; 1 edition (March 1, 2005)
  • Language: English
  • ISBN-10: 0816643016
  • ISBN-13: 978-0816643011
  • Product Dimensions: 10.1 x 6.7 x 0.8 inches
  • Shipping Weight: 1.4 pounds (View shipping rates and policies)
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #6,445,616 in Books (See Top 100 in Books)

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5.0 out of 5 stars identity and image of American men after WWII, May 29, 2005
With the close of World War II, the paradigmatic masculine, myth-like image of the soldier could no longer be sustained. Returning to the domestic society with their memories of the realities of war, as well as knowledge of their own fears, conflicts, and roles in the carnage, the legions of men also returned to a society which had worked admirably without them in maintaining order, demonstrating patriotism, and producing prodigious amounts of war supplies and consumer goods. The patriarchal "fictions" about men were in shambles. This work "explores the way photography functioned within the postwar restructuring of the dominant fiction." Photography accomplished this by presenting images of men which reestablished them at the head of the social structure in roles that were desirable and beneficial. No longer seen by themselves or those who remained on the "home front," especially women, as saving the society, the men came to be seen by themselves and women in respectable and romantic ways reflecting American ideals of individual worth and ability, mastery of one's own situation and destiny, and autonomy. The five main types of images were "breadwinner, warrior, tough guy, playboy, and rebel." Vettel-Becker, professor of art history at Montana State U.-Billings, writes a cultural study of how each of these was created by media photography, and each image's part in making male ego whole and restoring male superiority in postwar American society. One chapter, "Female Body," showing a few photos of naked women, looks at how the eroticized image of women worked so men could regain the position they had lost due to the "historical trauma" they suffered from World War II.
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