Susan Meiselas Nicaragua

Originally published in 1981, Susan Meiselas's Nicaragua is a contemporary classic--a seminal contribution to the literature of concerned photojournalism.

Susan Meiselas  Nicaragua

Originally published in 1981, Susan Meiselas's Nicaragua is a contemporary classic--a seminal contribution to the literature of concerned photojournalism. Nicaragua forms an extraordinary narrative of a nation in turmoil. Starting with a powerful and chilling evocation of the Somoza regime during its decline in the late 1970s, the images trace the evolution of the popular resistance that led to the insurrection, culminating with the triumph of the Sandinista revolution in 1979. The book includes interviews of various participants in the revolution, along with letters, poems, and statistics. Excerpts from these interviews, gathered during Meiselas's return to Nicaragua in early 1981, accompany the plates in the book. In 2008, on the thirtieth anniversary of the popular insurrection, and of Meiselas's first trip to Nicaragua, Aperture published a new edition. Now, as the fortieth anniversary approaches, Aperture is pleased to reissue the book with an augmented reality (AR) function, bringing a selection of images to life via clips from Meiselas's films Pictures from a Revolution (1991), in which she returns to the scenes she originally photographed, tracking down subjects and interviewing them, and Reframing History (2004), a documentation of her return in 2004 with nineteen mural-sized images of her photographs from 1979, to collaborate with local communities to create sites for collective memory. A conversation with Kristen Lubben addresses the history of Meiselas's work in Nicaragua, how it has been circulated, revisited, repatriated, and reconsidered--how and why it endures. Expanding upon this, they discuss the new layered content experience of AR in this edition, which takes the reader beyond still photography into a world of video and sound.

Photography and Writing in Latin America

Susan Meiselas , New recruits to national guard practice blindfolded dismantling of a gun , from Nicaragua / 65 Figure 3.3 . Susan Meiselas , National guard on duty , from Nicaragua / 66 Figure 3.4 . Susan Meiselas , Market place ...

Photography and Writing in Latin America

This is the first book to document the extensive collaboration between writers and photographers in Latin America from the Mexican Revolution through the twentieth century.

Susan Meiselas Nicaragua Signed 1st Edition

John Berger praised the work for its ability to, "take us right inside a revolutionary moment.

Susan Meiselas  Nicaragua  Signed 1st Edition

Originally published in 1981, Susan Meiselas' "Nicaragua" is a modern classic--a seminal contribution to the literature of concerned photojournalism. John Berger praised the work for its ability to, "take us right inside a revolutionary moment... Yet unlike most photographs of such material, these refuse all the rhetoric normally associated with such pictures: The rhetoric of violence, revolutionary heroism and the glorification of misery." "Nicaragua" forms an extraordinary narrative of a nation in turmoil. Starting with a powerful and chilling evocation of the Somoza regime during its decline in the late 1970s, the images trace the evolution of the popular resistance that led to the insurrection, culminating with the triumph of the Sandinista revolution in 1979. The 2008 edition includes "Pictures from a Revolution," a DVD in which Meiselas returns to the scenes she originally photographed, tirelessly tracking down the subjects and interviewing them about the reality of post-revolution Nicaragua. The DVD booklet features a new interview with Meiselas in which she discusses the history of the project. Susan Meiselas, born in Baltimore in 1948, received her BA from Sarah Lawrence College and her MA from Harvard University. Her first book, the classic "Carnival Strippers," was published in 1976. She is the recipient of numerous awards, including the Hasselblad Foundation Photography Prize (1994) and the International Center of Photography's Infinity Award (2005). Her work has been exhibited at the Bibliothèque Nationale in Paris, the Whitney Museum of American Art and the Art Institute of Chicago. A member of Magnum Photos, Meiselas was named a MacArthur Fellow in 1992. She lives in New York.

Nicaragua June 1978 July 1979

John Berger praised the work for its ability to, "take us right inside a revolutionary moment.

Nicaragua  June 1978 July 1979

Accompanying DVD in pocket at the rear of book.

The Devil s Rope

Cindy Polemis , ' The Colour of War : Susan Meiselas in Nicaragua , Creative Arts , 205 ( 1982 ) , p . 356 . Susan Meiselas , Nicaragua : June 1978 – July 1979 , ed . Clare Rosenberg , ( London , 1981 ) , see Chronology .

The Devil s Rope

Barbed wire, as a tool of control, has played a critical role in the modern experience. It also has another history constructed through image and text in the arts, media and popular culture. This work critically examines these representations.

Afterimages

Susan Meiselas, “Some Thoughts on Appropriations and the Use of Documentary Photographs,” Exposure 24, no. 4 (1989): 11. Alan Riding, “National Mutiny in Nicaragua,” New York Times Magazine, July 30, 1978. Meiselas, “Some Thoughts,” 12.

Afterimages

In 2005, photographer Chris Hondros captured a striking image of a young Iraqi girl in the aftermath of the killing of her parents by American soldiers. The shot stunned the world and has since become iconic—comparable to the infamous photo by Nick Ut of a Vietnamese girl running from a napalm attack. Both images serve as microcosms for their respective conflicts. Afterimages looks at the work of war photographers like Hondros and Ut to understand how photojournalism interacts with the American worldview. Liam Kennedy here maps the evolving relations between the American way of war and photographic coverage of it. Organized in its first section around key US military actions over the last fifty years, the book then moves on to examine how photographers engaged with these conflicts on wider ethical and political grounds, and finally on to the genre of photojournalism itself. Illustrated throughout with examples of the photographs being considered, Afterimages argues that photographs are important means for critical reflection on war, violence, and human rights. It goes on to analyze the high ethical, sociopolitical, and legalistic value we place on the still image’s ability to bear witness and stimulate action.

American Photography and the American Dream

Somoza's dictatorand Susan ship has aroused the rebellion that culminates in the revolution shown in Nicaragua . Meiselas ) On one level , many of the images in that book can be read as a series of cycles of armed resistance and vicious ...

American Photography and the American Dream

Looks at how documentary photographers have contested the idea of the American dream, and discusses the work of Francis Benjamin Johnston, Lewis Hine, Walker Evans, Dorothea Lange, William Klein, Diane Arbus, and Robert Frank

Being Contemporary

Meiselas first went to Nicaragua as an American photojournalist during the popular Sandinista insurrection against the ... 27 Susan Meiselas, 'Return to Nicaragua: The Aftermath of Hope,' in Rites of Return: Diaspora Poetics and the ...

Being Contemporary

A collection of 23 riveting essays on aspects of contemporary French culture by the superstars of the field.

Vulnerability in Resistance

See also Meiselas, Nicaragua, and In History. Meiselas, “Return to Nicaragua,” 170. Susan Meiselas and Alfred Guzzetti, dirs., Reframing History (Susan Meiselas Photographer, 2008), www.susanmeiselas.com; Alfred Guzzetti, Susan Meiselas ...

Vulnerability in Resistance

Vulnerability and resistance have often been seen as opposites, with the assumption that vulnerability requires protection and the strengthening of paternalistic power at the expense of collective resistance. Focusing on political movements and cultural practices in different global locations, including Turkey, Palestine, France, and the former Yugoslavia, the contributors to Vulnerability in Resistance articulate an understanding of the role of vulnerability in practices of resistance. They consider how vulnerability is constructed, invoked, and mobilized within neoliberal discourse, the politics of war, resistance to authoritarian and securitarian power, in LGBTQI struggles, and in the resistance to occupation and colonial violence. The essays offer a feminist account of political agency by exploring occupy movements and street politics, informal groups at checkpoints and barricades, practices of self-defense, hunger strikes, transgressive enactments of solidarity and mourning, infrastructural mobilizations, and aesthetic and erotic interventions into public space that mobilize memory and expose forms of power. Pointing to possible strategies for a feminist politics of transversal engagements and suggesting a politics of bodily resistance that does not disavow forms of vulnerability, the contributors develop a new conception of embodiment and sociality within fields of contemporary power. Contributors. Meltem Ahiska, Athena Athanasiou, Sarah Bracke, Judith Butler, Elsa Dorlin, Başak Ertür, Zeynep Gambetti, Rema Hammami, Marianne Hirsch, Elena Loizidou, Leticia Sabsay, Nükhet Sirman, Elena Tzelepis

Photography as Activism

Nicaragua: Thirty Years Later, a Conversation Between Susan Meiselas and Kristen Lubben, Associate Curator, International Center of Photography, December 6, 2007. Susan Meiselas, Nicaragua (New York: Aperture, 2008). Ibid., Lubben.

Photography as Activism

You want to look through the lens of your camera and change the world. You want to capture powerful moments in one click that will impact the minds of other people. Photographic images are one of the most popular tools used to advocate for social and environmental awareness. This can be as close to home as drug use, prostitution, or pollution or as far away as famine, war, and the plight of refugees and migrant workers. One well-known example of an activist photographer would be landscape photographer Ansel Adams, who trudged to Washington with stunning images of the American west to advocate protecting these areas. His images and testimony were instrumental in creating the National Park System and garnering specific protection for Yellowstone National Park. More recently Robert Glenn Ketchum's images of Alaska's Arctic National Wildlife Refuge raised awareness of why this area should be protected. Nigel Barker's seal photographs advocates against seal clubbing. What is your cause and how can you use your camera to make the world a better place? This book provides a comprehensive theory of, and history of, photography as activism. It also includes interviews with contemporary photographers. It is a call to action for young photographers to become activists, a primer of sorts, with advice for how to work with NGOs and non-profits, how to work safely in conflict zones and with suggestions for distribution on websites, blogs, and interactive agencies.

Mother Jones Magazine

Susan Meiselas, one of three photographers recently wounded in El Salvador, shot most of the photographs accompanying these interviews. Meiselas won the Robert Capa Gold Medal in 1979 for her photographs of Nicaragua, a collection of ...

Mother Jones Magazine

Mother Jones is an award-winning national magazine widely respected for its groundbreaking investigative reporting and coverage of sustainability and environmental issues.

Travel Writing Form and Empire

Figure 13.1 Susan Meiselas, “Popular forces begin final offensive in Masaya, June 8, 1979”. In: Susan Meiselas, Nicaragua, June 1978–July 1979 (New York: Pantheon, 1981), p. 47. Reproduced with permission of Magnum Photos. even more, ...

Travel Writing  Form  and Empire

This collection of essays is an important contribution to travel writing studies -- looking beyond the explicitly political questions of postcolonial and gender discourses, it considers the form, poetics, institutions and reception of travel writing in the history of empire and its aftermath. Starting from the premise that travel writing studies has received much of its impetus and theoretical input from the sometimes overgeneralized precepts of postcolonial studies and gender studies, this collection aims to explore more widely and more locally the expression of imperialist discourse in travel writing, and also to locate within contemporary travel writing attempts to evade or re-engage with the power politics of such discourse. There is a double focus then to explore further postcolonial theory in European travel writing (Anglophone, Francophone and Hispanic), and to trace the emergence of postcolonial forms of travel writing. The thread that draws the two halves of the collection together is an interest in form and relations between form and travel.

Conversations on Conflict Photography

6 Susan Meiselas, Nicaragua: June 1978–July 1979 (New York: Pantheon Books, 1981). 7 “Bang bang” is an industry term that refers to war photography taken in active combat settings, and often portraying fighters with weapons or the ...

Conversations on Conflict Photography

In today’s image-saturated culture, the visual documentation of suffering around the world is more prevalent than ever. Yet instead of always deepening the knowledge or compassion of viewers, conflict photography can result in fatigue or even inspire apathy. Given this tension between the genre’s ostensible goals and its effects, what is the purpose behind taking and showing images of war and crisis? Conversations on Conflict Photography invites readers to think through these issues via conversations with award-winning photographers, as well as leading photo editors and key representatives of the major human rights and humanitarian organizations. Framed by critical-historical essays, these dialogues explore the complexities and ethical dilemmas of this line of work. The practitioners relate the struggles of their craft, from brushes with death on the frontlines to the battles for space, resources, and attention in our media-driven culture. Despite these obstacles, they remain true to a purpose, one that is palpable as they celebrate remarkable success stories: from changing the life of a single individual to raising broad awareness about human rights issues. Opening with an insightful foreword by the renowned Sebastian Junger and richly illustrated with challenging, painful, and sometimes beautiful images, Conversations offers a uniquely rounded examination of the value of conflict photography in today’s world.

Photography and Its Publics

project is addressed in the section titled 'Beyond Nicaragua and El Salvador', 118–121. See Kristen Lubben, ed., Susan Meiselas: In History (New York/Göttingen: International Center of Photography/Steidl, 2008). See also Susan Meiselas ...

Photography and Its Publics

Photography is a ubiquitous part of the public sphere. Yet we rarely stop to think about the important role that photography plays in helping to define what and who constitute the public. Photography and Its Publics brings together leading experts and emerging thinkers to consider the special role of photography in shaping how the public is addressed, seen and represented.This book responds to a growing body of recent scholarship and flourishing interest in photography's connections to the law, society, culture, politics, social change, the media and visual ethics.Photography and Its Publics presents the public sphere as a vibrant setting where these realms are produced, contested and entwined. Public spheres involve yet exceed the limits of families, interest groups, identities and communities. They are dynamic realms of visibility, discussion, reflection and possible conflict among strangers of different race, age, gender, social and economic status. Through studies of photography in South America, North America, Europe and Australasia, the contributors consider how photography has changed the way we understand and locate the public sphere. As they address key themes including the referential and imaginative qualities of photography, the transnational circulation of photographs, online publics, social change, violence, conflict and the ethics of spectatorship, the authors provide new insight into photography's vital role in defining public life.

Revolutionary Forgiveness

3. Susan Meiselas , Nicaragua : June 1978 - July 1979 ( New York : Pantheon , 1981 ) , p . 76 . 4. Augusto Cesar Sandino quoted in Meiselas , Nicaragua , p . 73 . 5. Humberto Ortega , “ Nicaragua - The Strategy of Victory , " in Bruce ...

Revolutionary Forgiveness

"Anyone who wants to know the truth about the Nicaraguan Revolution should come and see with their own eyes. Then let them make their own judgment, as the authors of this book have. Those who cannot come should read this book and then make their judgment."Rev. Ernesto Cardenal, Minister of Culture, Nicaragua"Three things are striking about this small volume. The first is the timeliness of the topic. The resolution of the problems of such Third World countries as Nicaragua and the Philippines are weighting the future of our world. The second is the importance to people of faith around the glove as to how our religious heritage can inform our political judgments on current revolutionary situations. The third is the exciting and refreshing 'doing of theology' in the context of group experience and group reflection - in this case by a group comprised almost entirely of women."Robert DeWitt, formerly Bishop of the Episcopal Diocese of Pennsylvania"This book must be read by every American struggling with the question: 'What is the truth about U.S. involvement in Nicaragua?"Delores S. Williams, Muhlenberg College"Revolutionary Forgiveness is a testimony... to the power of the Nicaraguan struggle to change lives and to call citizens of the that very superpower that seeks to crush it to repentance."Rosemary Ruether, Garrett-Evangelical Seminary and Northwestern Seminary"Empathetic and daring, this unusual book, rooted in a feminist perspective, has a message for every North American about the revolutionary power of forgiveness."Archie Smith, Jr., Pacific School of Religion

Namedropping

When Susan Meiselas first went to Nicaragua in June 1978 to photograph the burgeoning Sandinista insurrection as it became a popular uprising , Somoza's barbarism still ruled . This was then some weeks in advance of the major world ...

Namedropping

Candid snapshots in prose of literary and other figures--ranging from Aldous Huxley and Isaac Bashevis Singer to Faye Dunaway and Hunter S. Thompson--whom the author encountered during four decades as a working writer and journalist.

Central America s Forgotten History

Susan Meiselas , Nicaragua ( New York : Aperture , 1981 ) . 36. Perla , " Heirs of Sandino , " 82. Perla makes a related argument in “ Si Nicaragua Venció , " 138 . CHAPTER 9 : PEACE TREATIES AND NEOLIBERALISM 1.

Central America s Forgotten History

Restores the region’s fraught history of repression and resistance to popular consciousness and connects the United States’ interventions and influence to the influx of refugees seeking asylum today. At the center of the current immigration debate are migrants from Central America fleeing poverty, corruption, and violence in search of refuge in the United States. In Central America’s Forgotten History, Aviva Chomsky answers the urgent question “How did we get here?” Centering the centuries-long intertwined histories of US expansion and Indigenous and Central American struggles against inequality and oppression, Chomsky highlights the pernicious cycle of colonial and neocolonial development policies that promote cultures of violence and forgetting without any accountability or restorative reparations. Focusing on the valiant struggles for social and economic justice in Guatemala, Nicaragua, El Salvador, and Honduras, Chomsky restores these vivid and gripping events to popular consciousness. Tracing the roots of displacement and migration in Central America to the Spanish conquest and bringing us to the present day, she concludes that the more immediate roots of migration from El Salvador, Guatemala, and Honduras lie in the wars and in the US interventions of the 1980s and the peace accords of the 1990s that set the stage for neoliberalism in Central America. Chomsky also examines how and why histories and memories are suppressed, and the impact of losing historical memory. Only by erasing history can we claim that Central American countries created their own poverty and violence, while the United States’ enjoyment and profit from their bananas, coffee, mining, clothing, and export of arms are simply unrelated curiosities.

Rituals of Mediation

For the photographs in question , see Susan Meiselas , Nicaragua June 1978 - July 1979 , edited with Claire Rosenberg ( London : Writers and Readers Publishing Cooperative , 1981 ) . 92. Wald , “ The Eye of the Photojournalist , ” p .

Rituals of Mediation

A timely consideration of the meaning of transnational cultural interactions today. In an era of increasing globalization, the cultural and the international have borders as permeable as most nations'--and an understanding of one requires making sense of the other. Foregrounding the role of mediation--understood here as a site of representation, transformation, and pluralization--the authors engage two specific questions: How might we make theoretical and practical sense of transnational cultural interactions? And how are we to understand the ways in which the sites of mediation represent, transform, and remediate internationals? Accordingly, the authors consider international issues like security, development, political activism, and the war against terrorism through the lens of cultural practices such as traveling through airports, exhibiting art and photography, logging on to the Internet, and spinning news stories.

Nicaragua Footprint Handbook

In 1978, the 30-year- old Susan Meiselas was an inexperienced documentary photographer who had never covered a major political story. Just after joining the most prestigious photo agency in the world, Magnum, she read about the ...

Nicaragua Footprint Handbook

Escape the crowds and uncover one of the best kept secrets of Central America with Footprint's 5th edition Nicaragua Handbook. Deserted beaches, sleepy towns, incredible rainforests and active volcanoes all await the intrepid traveller to this emerging Latin American destination. Comprehensive coverage on how to get the most from this little travelled land, including amazing cultural insights, all the best places to eat, drink and sleep, detailed advice on how to get around and how to experience the most from the adventure activities on offer. • Extensive coverage of Nicaragua's national parks and how to get the most from them • Amazing cultural & historical insight • Our recommended itineraries to help you plan your trip whether you’re travelling for one week or four • Accommodation listings for every budget • Detailed street maps for important towns and cities • The lowdown on the best adventure activities including, surfing, windsurfing, riding and trekking • Detailed transport advice on how to get around • Overview map of the country to help you plan your trip and get your bearings Packed with information on all the main attractions as well as detailed information on the dozens of activities and adventures that will help you get off the beaten track, Footprint’s Nicaragua Handbook will help you get to the heart of this intriguing country