Jazz photography has attracted increasing attention in recent
years. Photographs of musicians are popular with enthusiasts, while
historians and critics are keen to incorporate photographs as
illustrations. Yet there has been little interrogation of these
photographs and it is noticeable that what has become known as the
jazz photography 'tradition' is dominated by a small number of
well-known photographers and 'iconic' images. Many photographers,
including African American photojournalists, studio photographers,
early twentieth-century emigres, the Jewish exiles of the 1930s and
vernacular snapshots are frequently overlooked. Drawing on ideas
from contemporary photographic theory supported by extensive
original archival research, Sight Readings is a thorough
exploration of twentieth century jazz photography, and it includes
discussions of jazz as a visual subject, its attraction to
different types of photographers and offers analysis of why and how
they approached the subject in the way they did. One of the
remarkable things about this book is its movement back and forth
between detailed archive research, the empirical documentation of
photographers, their techniques, working practices, equipment etc.,
and cultural theory, the sophisticated discussion of aesthetics,
cultural sociology, the politics of identity, etc. The result is
both a fine scholarly achievement and an engaging labour of love.
The primary readership will be those with specialist interests in
the history of jazz and the history of photography. The audience
will include jazz scholars, musicians, critics and fans, along with
photographers, photography scholars, art historians and those
generally interested in the history of visual images. It will be an
essential text for teaching as well as research in the fields of
music and photography. It will be of interest to those teaching and
studying within cultural studies, American studies, African
American studies, critical race and ethnic studies, history,
English and sociology. There is also a significant readership for
jazz and photographic history outside the academic context. It will
be of interest to the media, the museum world and the general
reader with interests in music or photography.
General
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