Shots in the Dark: True Crime Pictures
| Author | : | |
| Rating | : | 4.13 (686 Votes) |
| Asin | : | 0821227750 |
| Format Type | : | paperback |
| Number of Pages | : | 160 Pages |
| Publish Date | : | 0000-00-00 |
| Language | : | English |
DESCRIPTION:
. Gail Buckland is the author of eight books and held the Nobel Chair in Art
Featuring many rarely or never-before-seen images, this book aims to shed new light on the role of crime photography in our history and in our culture. They are pictures which are often seen once and then never forgotten: an autopsy photograph of Lee Harvey Oswald; the bodies of Lizzie Borden's parents, photographed in the room where they were slain; pictures of balistic equipment used to determine Sacco and Vanzetti's guilt and of O.J. When shots ring out, photographers shoot back. Mundane and profound, gruesome and compelling, crime photographs are, for better or worse, part of our world. Simpson wearing shoes that match the footprints at the murder scene. Their images can startle, inform and serve as witness. Photographic historian Gail Buckland has sought out the most provocative and informative images and provides illuminating commentary throughout the book.
"If You Have a Weak Stomach You Will Not Want to Look at This Book" according to Sires. This came in the mail yesterday. I was doing my taxes. I really wanted to put my taxes aside and look at this book. I ended up finishing the taxes-- Federal and both states-- then I rewarded myself with a glass of wine and this book. Gory, horrible, mortal, the pictures selected had a fascinating quality. I would find myself acknowledging that there was a dead body in the room, b. "Excellent Tome" according to Wesley Horton. Makes you wonder what ever happened to unbiased newspapers. This shows the gritty reality of crime on the streets without blaming the Conservatives or the NRA. Back in the days when you could gun someone down with impunity. what's not to love?! Pictures of death what's not to love?!
The book is organized by subject matter ("Crime Scenes," "Killers," "Sensational Cases," "Retribution," "Gangsters," "Presidential Assassins"), while the authors' essays and captions provide deeper discussion of forensic photography's development and evolution in the American consciousness: the '40s noir landscapes of tabloid photographers like Weegee; shocking images from the public domain, like the surveillance pictures of Patty Hearst committing robbery with the SLA; or bootlegged autopsy photos of Dillinger and JFK. Snapshots of notorious and obscure killers provide concrete portraits of the banality of evil, while the rapist/murderer Harvey Glatman's photos of his bound victims evoke safety's fragility. Buckland