Suchergebnisse

In the postwar decade, UNESCO aimed to create an international public sphere to secure peace. The organization made extensive use of photographs to do so, including the photographic archive of works of art and photojournalism from the ruined cities of Europe. However, photography was not simply a transparent medium for communicating internationalist ideals; it was a formative influence in shaping UNESCO's effort to build "peace in the minds of men". This essay analyses the conception of photography as a universal language articulated in UNESCO-sponsored forums, the use of photography in UNESCO publications concerning human rights and educational reconstruction, and the internationalist ideals of world culture and world citizenship relevant to UNESCO's early work. Analysis reveals that UNESCO's use of photography was less the valuable deployment of a universal language suited to an internationalist agenda than it was the universalizing of certain cultural values in pursuit of the organization's utopian vision.

In contrast with historical examinations centring the evolving role of the war correspondent, Conflicting Images focuses on the contribution of photographers and photojournalists, providing an evaluative appraisal of war photography in the news and its development from the nineteenth century to the twenty-first century. Stuart Allan and Tom Allbeson critically explore diverse genres of war photography across a broad historical sweep, encompassing events from the Crimean War (1853-56) and the Civil War in the United States (1861-65) up to and including conflicts unfolding in Syria and Ukraine. This book reflects on the relevance of different types of warfare to visual reporting, from colonial conquest via trench warfare and aerial bombardment, to the ideological dimensions of the Cold War, and 'embedding' and 'winning hearts and minds' during the 'War on Terror' and its aftermath. In pinpointing illustrative examples, the authors examine changing dynamics of production, dissemination, and public engagement. Readers will come to understand how current efforts to rethink the future of war photography in a digital age can benefit from a close and careful consideration of war photography's origins, early development, and gradual, uneven transformation over the years. Conflicting Images aims to invigorate ongoing enquires and inspire new, alternative trajectories for future research and practice. This book is recommended reading for researchers and advanced students of visual journalism and conflict reporting.

AbstractWhile town twinning has played a crucial role in reconciliation and reconstruction processes in Europe after World War II, urban historians have not yet paid sufficient attention to it. This special issue thus addresses this historiographical neglect through a set of case-studies that examine the role of twinned cities in post-war reconciliation and reconstruction between former enemy nations and across the ideological fault lines of the Cold War. The framework that underpins all contributions rests on the use of 'twinned cities' as an umbrella term to denote various forms of inter-municipal links and builds on similarly broad definitions of 'reconciliation' and 'reconstruction'.

AbstractThis article addresses the beginnings of the twinning relationship between Coventry and Kiel to introduce and exemplify the idea of 'urban internationalism' as a new lens onto urban histories of town twinning initiatives and a contribution to the historiography of British town twinning. Focusing on paradiplomatic initiatives by municipal officials, religious dignitaries and other citizens in Coventry and Kiel, the article examines the role that cities played in British–German reconstruction and reconciliation in the period from the end of World War II until the formation of the Federal Republic of Germany in 1949.

This article discusses methodological reflections underpinning an integrated research and curation strategy addressing the history of the British magazine, Picture Post (1938-57). The dispersed Picture Post archive includes the extensive collection of negatives, prints, contact sheets, publications and daybooks held by the Hulton Archive – part of the multinational visual content provider, Getty Images. Today, however, just a handful of familiar images from Picture Post are recirculated in print and online as visual shorthand for collective memories of twentieth-century Britain. Comprising an exhibition in 2025, online educational resources and an events programme, this project will deliver new historiographic insights into and public engagement with the seminal publication. Charting the magazine and archive's development, this article explores innovative approaches to research and curation that examine the business of photojournalism in Britain, the public circulation of photographs, and narratives representative of Picture Post's international outlook and social democratic ethos.