2008•Unpublished venueRequires access

CroatianAnti-war photography - World War I, World War II and the Homeland War

Rhea Ivanuš, Branka Hlevnjak

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Abstract

War photography, particularly the photography this book deals with is an anti-war message. The models are always subcultural. The faces in the foreground are scared children, desperate women, dying men, wounded people, nameless army, corpses without identity briefly people –victims. Victims of global leaders and their scenarios for events not utterly being the choice of their peoples. There are no politicians on battlefields. War photography is a sub-cultural protest against the dominant (military) culture that imposed it.

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What this paper is about

War photography, particularly the photography this book deals with is an anti-war message. The models are always subcultural. The faces in the foreground are scared children, desperate women, dying men, wounded people, nameless army, corpses without identity briefly people –victims. Victims of global leaders and their scenarios for events not utterly being the choice of their peoples. There are no politicians on battlefields. War photography is a sub-cultural protest against the dominant (military) culture that imposed it.

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Available abstract

War photography, particularly the photography this book deals with is an anti-war message. The models are always subcultural. The faces in the foreground are scared children, desperate women, dying men, wounded people, nameless army, corpses without identity briefly people –victims. Victims of global leaders and their scenarios for events not utterly being the choice of their peoples. There are no politicians on battlefields. War photography is a sub-cultural protest against the dominant (military) culture that imposed it.

Key concepts: Photography, Homeland, Identity (music), World War II, Spanish Civil War, History, First world war, Media studies

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