Kapitel in diesem Buch

1. Frontmatter i
2. Contents v
3. List of Illustrations vii
4. Acknowledgments xi
5. Introduction: The American Photo-Text 1
6. PART I: THE 1930s
7. 1. Portraiture as Place in Julia Peterkin and Doris Ulmann’s Roll, Jordan, Roll (1933) 19
8. 2. Articulating the Depression in Dorothea Lange and Paul Taylor’s American Exodus (1939) and Margaret Bourke-White and Erskine Caldwell’s You Have Seen Their Faces (1937) 43
9. 3. Establishing a Photographic Vernacular in Walker Evans’s American Photographs (1938) 66
10. PART II: THE 1940s
11. 4. Modernism as Documentary Practice in James Agee and Walker Evans’s Let Us Now Praise Famous Men (1941) 89
12. 5. A Post-War Pastoral in Wright Morris’s The Inhabitants (1946) and The Home Place (1948) 107
13. 6. Hardboiled Captions and Flashgun Aesthetics in Weegee’s Naked City (1945) 132
14. PART III: THE 1950s
15. 7. Ideology, History and Democracy in Paul Strand and Nancy Newhall’s Time in New England (1950) 157
16. 8. Visions of Harlem in Langston Hughes and Ray DeCarava’s The Sweet Flypaper of Life (1955) 182
17. 9. Beat Poetics in The Americans (1959) 205
18. Conclusion 227
19. Bibliography 235
20. Index 243