Word: likes
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Dates: during 1980-1989
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...that is what photography is up to, then the onion of the world is being peeled away, layer by layer -- lenses like black holes gobbling up life's emanations. Mere images proliferate, while history pares down to a phosphorescence of itself...
...find thousands of other oddments from the time -- John John saluting at the funeral, Jack and Jackie on Cape Cod, who knows? -- bright shards that stimulate old feelings (ghost pangs, ghost tendernesses, wistfulness) but not thought really. The shocks turn into dreams. The memory of such pictures, flipped through like a disordered Rolodex, makes at last a cultural tapestry, an inventory of the kind that brothers and sisters and distant cousins may % rummage through at family reunions, except that the greatest photojournalism has given certain memories the emotional prestige of icons...
...dawn of the 1950s, the photojournalist was monarch of all he surveyed. No medium other than photojournalism challenged the status of the great picture magazines like LIFE and Look. The best photojournalists who survived World War II and then Korea were acknowledged giants. The 1947 founding of the photographers' cooperative Magnum had established the principle that picture takers should own the rights to their work. (Previously, rights had belonged to whoever commissioned a project.) Photojournalism could even claim a | theoretical foundation, as in Henri Cartier-Bresson's idea of the photographer as instant organizer of reality...
Photojournalism was at war with itself over its essence. Studies of the battlefield were replaced by reflections on life-style: the camera discovered suburbia. In the view of dissidents like Smith, however, news photography had vitiated itself through overproduction. Continuous wire-service transmission and the conservatism of the postwar picture press had covered the world with images leached of their expressiveness and meaning. As Smith put it, "we are deluged with photography at its worst -- until the drone of superficiality threatens to numb our sensitivity to image...
...events had become the staple of TIME and Newsweek, which had moved into the void left by the collapsing picture magazines. For many traditionalists, color marked a final capitulation to the values of television. But a group of younger photojournalists would begin to paint the news in bold colors. Like the U.S. after Viet Nam, these new practitioners were no longer satisfied by the old certainties...