LEADER 04145nam 2200625 a 450 001 9910809471603321 005 20230801231937.0 010 $a0-292-73794-7 024 7 $a10.7560/735804 035 $a(CKB)3170000000046354 035 $a(EBL)3443613 035 $a(SSID)ssj0000601751 035 $a(PQKBManifestationID)12263250 035 $a(PQKBTitleCode)TC0000601751 035 $a(PQKBWorkID)10566338 035 $a(PQKB)11732971 035 $a(MiAaPQ)EBC3443613 035 $a(Au-PeEL)EBL3443613 035 $a(CaPaEBR)ebr10582912 035 $a(OCoLC)932314132 035 $a(DE-B1597)587194 035 $a(DE-B1597)9780292737945 035 $a(EXLCZ)993170000000046354 100 $a20110815d2012 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aPhotographing the Mexican Revolution$b[electronic resource] $ecommitments, testimonies, icons /$fJohn Mraz 205 $a1st ed. 210 $aAustin $cUniversity of Texas Press$d2012 215 $a1 online resource (328 p.) 225 1 $aWilliam and Bettye Nowlin series in art, history, and culture of the Western Hemisphere 300 $aDescription based upon print version of record. 311 $a0-292-73580-4 320 $aIncludes bibliographical references and index. 327 $aThe Porfiriato : from the studio to the street -- Representing the revolution -- The myth of the casasolas -- Learning to photograph war -- The Zapatista movement and southern cameras -- Photographing the reaction -- The caudillo of the cameras? -- The advantages of photographing the constitutionalist movement -- Epilogue : the icons of the Mexican Revolution. 330 $aThe Mexican Revolution of 1910?1920 is among the world?s most visually documented revolutions. Coinciding with the birth of filmmaking and the increased mobility offered by the reflex camera, it received extraordinary coverage by photographers and cineastes?commercial and amateur, national and international. Many images of the Revolution remain iconic to this day?Francisco Villa galloping toward the camera; Villa lolling in the presidential chair next to Emiliano Zapata; and Zapata standing stolidly in charro raiment with a carbine in one hand and the other hand on a sword, to mention only a few. But the identities of those who created the thousands of extant images of the Mexican Revolution, and what their purposes were, remain a huge puzzle because photographers constantly plagiarized each other?s images. In this pathfinding book, acclaimed photography historian John Mraz carries out a monumental analysis of photographs produced during the Mexican Revolution, focusing primarily on those made by Mexicans, in order to discover who took the images and why, to what ends, with what intentions, and for whom. He explores how photographers expressed their commitments visually, what aesthetic strategies they employed, and which identifications and identities they forged. Mraz demonstrates that, contrary to the myth that Agustín Víctor Casasola was ?the photographer of the Revolution,? there were many who covered the long civil war, including women. He shows that specific photographers can even be linked to the contending forces and reveals a pattern of commitment that has been little commented upon in previous studies (and completely unexplored in the photography of other revolutions). 410 0$aWilliam & Bettye Nowlin series in art, history, and culture of the Western Hemisphere. 606 $aPhotography$zMexico$xHistory 606 $aHistoriography and photography$zMexico 607 $aMexico$xHistory$yRevolution, 1910-1920$xPhotography 607 $aMexico$xHistory$yRevolution, 1910-1920$vPictorial works 615 0$aPhotography$xHistory. 615 0$aHistoriography and photography 676 $a972/.030222 700 $aMraz$b John$01716747 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910809471603321 996 $aPhotographing the Mexican Revolution$94112271 997 $aUNINA