Fotografische Kriegsbericht-erstattung im Zweiten Weltkrieg. Wann wurde daraus Propaganda? (Photo-reportage during the Second World War. When did it become propaganda?)
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Exemplaarnummer Plaatscode Signatuur R073269 Ned. Fotomuseum Ned. fotomuseum
TitelFotografische Kriegsbericht-erstattung im Zweiten Weltkrieg.
Wann wurde daraus Propaganda? (Photo-reportage during the Second
World War. When did it become propaganda?)
Auteur
Editie[nummer] 43
[jaargang] XII
[tijdschrift; titel] FOTOGESCHICHTE
[tijdschrift; pagina] 60-75
Iconografisch trefwoord
Jaar van uitgave1992
Materiaalartikel
DocumenttypeArtikel
TrefwoordAuthenticiteit, documentaire fotografie, Ethiek en fotografie, Fascisme en fotografie, Geschiedenis van de fotografie: D (Duitsland), Nazisme en fotografie, Foto als historisch document, Foto als illustratie, Propaganda en fotografie, Propaganda Kompagnie, D, Propaganda met foto's, Maatschappij en fotografie, Oorlog en fotografie, Oorlogsfotografie
Geografisch trefwoordDuitsland
Persoonstrefwoord München Krieg und Fotografie, D
Samenvatting
The "Propaganda-Kompanie" of the "Wehrmacht" was responsible for
photo-reportages during WW II. By reconstructing the individual
stages - from the soldier-photographer at the front or other
locations suitable for propaganda purposes, to the photos
themselves and the context they received in the illustrated
press, this article examines the relationship between
photographic "facts" and their exploitation as propaganda in
National-Socialist publications. After the war the
photographers, referring to the objectivity of photography,
dissociated themselves from texts which had lent their pictures
an unintended meaning. They had only photographed what they had
seen with their own eyes. However, when speaking of photography
and propaganda it is assumed that "truth" lies in what is
written under the pictures. Thus the essential task of
propaganda was manipulation of the relationship between text and
picture. Using photographs by PK-photographer Gerhard Gronefeld
as examples, this article examines the relationship between
supposed photographic objectivity and the propagandistic context
imposed later. The problem is how to assess the responsibility
of a photographer for later trimmings done on his photographs
and captions added for reasons other than his own. (Published
Summary).
Citaten:
Sontag, S.: On Photography (1973)
Ranke, W.: Deutsche Geschichte kurz belichtet (1990)
Held, W.: Verbände und Truppen der deutcshen Wehrmacht (1978)
Keilig, W. (ed.): Das Deutsche Heer 1939-1945 (1957)
Von Wedel, H.: Die Propagandatruppen der Deutschen Wehrmacht (1962)
Murawski, E.: Der deutsche Wehrmachtsbericht 1939-45 (1962)
Schröder, J.: Der Kriegsbericht als propagandistische... (Diss. 1965)
Barkhausen, H.: Filmpropaganda für Deutschland im Ersten und Zweiten (1982)
Ertl, H.: Hans Ertl als Kriegsberichter 1939-1945 (1985)
Unger, E.-M.: Illustrierte als Mittel zur Kriegsvorbereitung... (1984)
Tausk, P.: Die Geschichte der Fotografie im 20. Jhrdt (1977)
Frei, N. / Schmitz, J.: Journalismus im Dritten Reich (1989)
Moll, M.: "Signal" (Publizistik 1986/31)
Herz, R.: Heinrich Hofmann (in: Revolution und Photographie in München, 1988)
Mettner, M.: NS-Propagandafotografie (Fotogesch. 1982, 5)
Milton, S.: Argument oder Illustration (Fotogesch. 1988, 28)
Schneider, S.: Von der Verfügbarkeit der Bilder (Fotogesch. 1988, 29)
photo-reportages during WW II. By reconstructing the individual
stages - from the soldier-photographer at the front or other
locations suitable for propaganda purposes, to the photos
themselves and the context they received in the illustrated
press, this article examines the relationship between
photographic "facts" and their exploitation as propaganda in
National-Socialist publications. After the war the
photographers, referring to the objectivity of photography,
dissociated themselves from texts which had lent their pictures
an unintended meaning. They had only photographed what they had
seen with their own eyes. However, when speaking of photography
and propaganda it is assumed that "truth" lies in what is
written under the pictures. Thus the essential task of
propaganda was manipulation of the relationship between text and
picture. Using photographs by PK-photographer Gerhard Gronefeld
as examples, this article examines the relationship between
supposed photographic objectivity and the propagandistic context
imposed later. The problem is how to assess the responsibility
of a photographer for later trimmings done on his photographs
and captions added for reasons other than his own. (Published
Summary).
Citaten:
Sontag, S.: On Photography (1973)
Ranke, W.: Deutsche Geschichte kurz belichtet (1990)
Held, W.: Verbände und Truppen der deutcshen Wehrmacht (1978)
Keilig, W. (ed.): Das Deutsche Heer 1939-1945 (1957)
Von Wedel, H.: Die Propagandatruppen der Deutschen Wehrmacht (1962)
Murawski, E.: Der deutsche Wehrmachtsbericht 1939-45 (1962)
Schröder, J.: Der Kriegsbericht als propagandistische... (Diss. 1965)
Barkhausen, H.: Filmpropaganda für Deutschland im Ersten und Zweiten (1982)
Ertl, H.: Hans Ertl als Kriegsberichter 1939-1945 (1985)
Unger, E.-M.: Illustrierte als Mittel zur Kriegsvorbereitung... (1984)
Tausk, P.: Die Geschichte der Fotografie im 20. Jhrdt (1977)
Frei, N. / Schmitz, J.: Journalismus im Dritten Reich (1989)
Moll, M.: "Signal" (Publizistik 1986/31)
Herz, R.: Heinrich Hofmann (in: Revolution und Photographie in München, 1988)
Mettner, M.: NS-Propagandafotografie (Fotogesch. 1982, 5)
Milton, S.: Argument oder Illustration (Fotogesch. 1988, 28)
Schneider, S.: Von der Verfügbarkeit der Bilder (Fotogesch. 1988, 29)
| Exemplaarnummer | R073269 |
| Instellingsnaam | |
| Signatuur | Ned. fotomuseum |