Introduction |
13.01 | Introduction to war photography |
Military acceptance of photography |
13.02 | Ordnance Survey Building, Southampton |
13.03 | Photography and the British Army |
Journalists at war |
13.04 | Journalists at war |
Problematic issues |
13.05 | Photographs of war dead |
13.06 | American Civil War (1861-1865): The dead |
13.07 | John Reekie: Collecting Remains of the Dead |
13.08 | Willoughby Wallace Hooper: The scandal of delaying a firing squad |
13.09 | Prisoners of war |
13.10 | Censorship of war photography |
13.11 | Faking war photographs |
13.12 | Reuse of miltary stereoviews |
13.13 | Humanity in terrible times |
13.14 | The landscapes of war |
13.15 | The civilian impact of War |
13.16 | Issues of interpretation of building structures |
13.17 | Wars and the lack of photographic evidence |
13.18 | Amateur photography and war |
13.19 | Boer War (1899-1902): Fabrications |
13.20 | British Munitions Company Limited - Verdun (1916-1918) |
13.21 | National and ethnic perspectives of war |
13.22 | Veterans |
13.23 | Fractured history |
13.24 | War and the destruction of photohistory |
Rephotographic studies |
13.25 | Rephotographic studies of conflicts and wars |
The impact of changing technologies |
13.26 | The changing technologies of war photography |
13.27 | Fashion: Accessories: Gas masks |
13.28 | Night vision imagery |
13.29 | Iraq War (2003-2011): Abu Ghraib |
13.30 | William Laven: War Models |
13.31 | Satellite Sentinel and the Enough Project |
13.32 | Yuval Tebol: Land Research Project (2017 or earlier) |
13.33 | Balazs Gardi: Basetrack One-Eight, Afghanistan (2010-2011) |
Aftermath |
13.34 | David Dare Parker: Agent Orange, Vietnam |
Thoughts |
13.35 | The aesthetics of conflict |
13.36 | War conclusions |
Postscript |
13.37 | A postscript to war - Don McCullin |