03580cam a2200385 a 4500003000800000005001700008007000300025008004100028020002500069020002200094035002400116040002200140041000800162042001400170043001200184050002400196082002400220100002700244245012800271260004800399300004500447500021200492500010500704504005100809505036900860520147701229650003702706650006602743650008002809650007002889650007302959650004503032650007603077710004103153BJBSDDR20230411090117.0ta190527s2010    ctua     b    001 0 eng d  a9780300121315 (hbk.)  a0300121318 (hbk.)  a(OCoLC)ocn449853655  aBTCTAcBTCTAbspa  aspa  alccopycat  an-us---00aP 94.5 bB496f 201000a302.23089/960732221 aBerger, Maurice,d195610aFor all the world to see :bvisual culture and the struggle for civil rights /cMaurice Berger ; foreword by Thulani Davis.  aNew Haven :bYale University Press,cc2010.  axv, 207 p. :bill. (some col.) ;c26 cm.  a"In collaboration with: Center for Art, Design and Visual Culture, University of Maryland Baltimore County, National Museum of African American History and Culture, Smithsonian Institution, Washington, D.C."  aRelated exhibition held at the International Center of Photography, New York, May 21-Sept. 12, 2010.  aIncludes bibliographical references and index.0 aForeword / by Thulani Davis -- Introduction : weapons of choice -- It keeps on rollin' along : the status quo -- The new "new Negro" : the culture of positive images -- Plates -- "Let the world see what I've seen" : evidence and persuasion -- Guess who's coming to dinner : broadcasting race -- Epilogue : in our lives we are whole : the pictures of everyday life.  aIn 1955, shortly after Emmett Till was murdered by white supremacists in Mississippi, his grieving mother distributed to the press a gruesome photograph of his mutilated corpse. Asked why she would do this, she explained that by witnessing with their own eyes the brutality of segregation and racism, Americans would be more likely to support the cause of racial justice. "Let the world see what I've seen," was her reply. The publication of the photograph inspired a generation of activists to join the civil rights movement.  Despite this extraordinary episode, the story of visual culture's role in the modern civil rights movement is rarely included in its history. This is the first comprehensive examination of the ways images mattered in the struggle, and it investigates a broad range of media including photography, television, film, magazines, newspapers, and advertising.  These images were ever present and diverse: the startling footage of southern white aggression and black suffering that appeared night after night on television news programs; the photographs of black achievers and martyrs in Negro periodicals; the humble snapshot, no less powerful in its ability to edify and motivate. In each case, the war against racism was waged through pictures, millions of points of light, millions of potent weapons that forever changed a nation. This book allows us to see and understand the crucial role that visual culture played in forever changing a nation. 0aAfrican Americans in mass media. 0aCivil rights movementszUnited StatesxHistoryy20th century. 0aVisual communicationxSocial aspectszUnited StatesxHistoryy20th century. 0aMass mediaxSocial aspectszUnited StatesxHistoryy20th century. 4aMovimientos de derechos civilesxHistoriazEstados UnidosySiglo XX. 0aComunicación visualxAspectos sociales 0aMedios de comunicaciónxAspectos sociales zEstados UnidosySiglo XX.2 aInternational Center of Photography.