Using highly detailed color photographs, John Ganis has chronicled the effects of development and extraction industries in every region of the Continental United States over a period of seventeen years. The subjects of Ganis s images are for the most part flagrantly clear abandoned wrecks, desolate strip mines, clear-cut forests, industrial parks, landfill sites, and the flattening of terrain for housing -developments and just as flagrantly disturbing. This is a thesaurus of our "civilized" incursions into the wildness of nature, a charting of our debris-strewn topographies, and a cogent report on our abdication of any reverence -towards the land. In an introductory essay, Robert -Sobieszek, from Los Angeles County Museum, gives an insightful overview of the historical responses to the American landscape and places the work of John Ganis within the context of "the new American pastoral." In 1989, Ganis entered into a collaborative exchange with the noted anthropologist Dr. Stanley Diamond, who wrote the poetry for this book in response to John Ganis s photographs. They represent some of his last and previously unpublished poetic work.John Ganis established his reputation with work on -important environmental issues. His color photographs of land use in America have been exhibited widely and are in the collections of The Brooklyn Museum of Art, The Center for Creative Photography, The Detroit Institute of Arts, The San Francisco Museum of Modern Art etc.He is currently professor and photography department chair at the College for Creative Studies in Detroit."

This book is open access and available on www.bloomsburycollections.com. It is funded by Knowledge Unlatched. Picture Post magazine was made famous by its pioneering photojournalism, which vividly captured a panorama of wartime events and the ordinary lives affected. This book is the first to examine this fascinating primary source as a cultural record of women's dress history. Reading the magazine's visual narratives from 1938 to 1945, it weaves together the ways in which design, style and fashion were affected by, and responded to, the state of being at war - and the new gender roles it created for women. From the working class of Whitechapel to the beach sets of the Bahamas, and from well-heeled Mayfair to middle-class New York, Women in Wartime takes a wide-angled lens to the fashions and lifestyles of the women featured in Picture Post. Exploring the nature of femininity and the struggle to be fashionable during the war, the book reveals critical connections between clothing and social culture. Drawing on a unique range of photographs, Women in Wartime presents a living history of how women's clothing choices reflect changing perceptions of gender, body, and class during an era of unprecedented social change.

The Siege of Sarajevo remains the longest siege in modern European history, lasting three times longer than the Battle of Stalingrad and over a year longer than the Siege of Leningrad. Reporting the Siege of Sarajevo provides the first detailed account of the reporting of this siege and the role that journalists played in highlighting both military and non-military aspects of it. The book draws on detailed primary and secondary material in English and Bosnian, as well as extensive interviews with international correspondents who covered events in Sarajevo from within siege lines. It also includes hitherto unpublished images taken by the co-author and award-winning photojournalist, Paul Lowe. Together Morrison and Lowe document a relatively short but crucial period in both the history of Bosnia & Herzegovina, the city of Sarajevo and the profession of journalism. The book provides crucial observations and insights into an under-researched aspect of a critical period in Europe's recent history.

Examining the dynamics between subject, photographer and viewer, Fashioning Brazil analyses how Brazilians have appropriated and reinterpreted clothing influences from local and global cultures. Exploring the various ways in which Brazil has been fashioned by the pioneering scientific and educational magazine, National Geographic, the book encourages us to look beyond simplistic representations of exotic difference. Instead, it brings to light an extensive history of self-fashioning within Brazil, which has emerged through cross-cultural contact, slavery, and immigration. Providing an in-depth examination of Brazilian dress and fashion practices as represented by the quasi-ethnographic gaze of National Geographic and National Geographic Brazil (the Portuguese language edition of the magazine, established in 2000), the book unpacks a series of case studies. Taking us from body paint to Lycra, via loincloths and bikinis, Kutesko frames her analysis within the historical, cultural, and political context of Latin American interactions with the United States. Exploring how dress can be used to manipulate identity and disrupt expectations, Fashioning Brazil examines readers' sensory engagements with an iconic magazine, and sheds new light on key debates concerning global dress and fashion.

For more than forty years Angola has faced conflict. From 1961-1975, there was the struggle for independence from Portuguese rule. This was followed by a period of civil war which, in one form or another, extended until 2001, when the UNITA leader Jonas Savimbi was killed in an ambush. This led to a cease-fire, armistice and peace. As a result of these 40 years of war the country has suffered a terrible legacy of unexploded mines and other weapons. Photographer Sean Sutton, who works alongside MAG (Mines Advisory Group) has recorded the impact that this has had on the country and its people, as well the work of those clearing the mines. MAG has been working in Angola for more than 10 years, clearing tens of thousands of landmines and items of unexploded ordnance. The book is introduced by Heather Mills who is a patron of MAG and has campaigned vigorously on the issue of landmines. There is also a text by the renowned photojournalist Tim Page whose photographs during the Vietnam War were published worldwide. Page is the subject of many documentaries, two films and the author of nine books. Lou McGrath, Director of MAG, contributes a further text contextualising the work of landmine clearance.

How does a mudskipper fish manage to “walk” on land? Why is the Hoatzin also known as ‘The Stinkbird’? And once the female Pipa toad has laid her eggs, where does she put them? The answers? The mudskipper can “walk” using its pectoral fins, the Hoatzin has a unique digestive system which gives the bird a manure-like odour, and the female Pipa Toad embeds its eggs on its back where they develop to adult stage. Illustrated throughout with outstanding colour photographs, Strange Animals presents the most unusual aspects of 100 of the most unusual species. The selection spans a broad spectrum of wildlife, from the tallest land living mammal, the giraffe, to the light, laughing chorus of Australian kookaburra birds, from the intelligence of the Bottlenose dolphin to octopuses that change colour when they dream to the slow pace of the three-toed sloth. Arranged geographically, the photographs are accompanied by fascinating captions, which explain the quirky characteristics of each entry. Including egg-laying mammals, birds, reptiles, amphibians, cannibalistic insects and other invertebrates, Strange Animals is a compelling introduction to some of nature’s most curious beasts.

Winner of the 2018 Media Ecology Association's Erving Goffman Award for Outstanding Scholarship in the Ecology of Social Interaction Winner of the Eastern Communication Association's Everett Lee Hunt Award A behind-the-scenes account of how death is presented in the media Death is considered one of the most newsworthy events, but words do not tell the whole story. Pictures are also at the epicenter of journalism, and when photographers and editors illustrate fatalities, it often raises questions about how they distinguish between a "fit" and "unfit" image of death. Death Makes the News is the story of this controversial news practice: picturing the dead. Jessica Fishman uncovers the surprising editorial and political forces that structure how the news and media cover death. The patterns are striking, overturning long-held assumptions about which deaths are newsworthy and raising fundamental questions about the role that news images play in our society. In a look behind the curtain of newsrooms, Fishman observes editors and photojournalists from different types of organizations as they deliberate over which images of death make the cut, and why. She also investigates over 30 years of photojournalism in the tabloid and patrician press to establish when the dead are shown and whose dead body is most newsworthy, illustrating her findings with high-profile news events, including recent plane crashes, earthquakes, hurricanes, homicides, political unrest, and war-time attacks. Death Makes the News reveals that much of what we think we know about the news is wrong: while the patrician press claims that they do not show dead bodies, they are actually more likely than the tabloid press to show them-even though the tabloids actually claim to have no qualms showing these bodies. Dead foreigners are more likely to be shown than American bodies. At the same time, there are other unexpected but vivid patterns that offer insight into persistent editorial forces that routinely structure news coverage of death. An original view on the depiction of dead bodies in the media, Death Makes the News opens up new ways of thinking about how death is portrayed.