Americans today have come to remember the unrest of the 1960s through the many shocking photographic images that emerged during that time. Images of assassinations, war, murders, and social upheaval have come to characterize this decade as particularly (perhaps perversely) photogenic. Further, these images have revealed the photographic medium as uniquely suited for confirming a violent reality that, at the time, seemed incomprehensible to an increasingly disillusioned public. In this discussion I seek to develop an understanding of photography as a theoretical process that can illuminate how we represent violent subject matter. In doing so, I apply these concepts to the New Journalism of the 1960s, which can be viewed as texts that grapple with the same types of social turbulence depicted in the many indelible images that have come to characterize this time period.
","abstract_html":"<p>Americans today have come to remember the unrest of the 1960s through the many shocking photographic images that emerged during that time. Images of assassinations, war, murders, and social upheaval have come to characterize this decade as particularly (perhaps perversely) photogenic. Further, these images have revealed the photographic medium as uniquely suited for confirming a violent reality that, at the time, seemed incomprehensible to an increasingly disillusioned public. In this discussion I seek to develop an understanding of photography as a theoretical process that can illuminate how we represent violent subject matter. In doing so, I apply these concepts to the New Journalism of the 1960s, which can be viewed as texts that grapple with the same types of social turbulence depicted in the many indelible images that have come to characterize this time period.</p>","abstract_has_math":false,"creators":["Hosemann, John David, Jr."],"institution":null,"degree_name":"Master of Arts (MA)","degree_level":"Masters Thesis","degree_discipline":"English","degree_department":null,"school":null,"contributors":["Monika Gehlawat","Charles Sumner","Martina Sciolino"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2012,"date_issued":"2012-08-01T07:00:00Z","date_published":"2012-08-01T07:00:00Z","updated_at":"2026-07-24T05:45:06Z","subjects":[],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://aquila.usm.edu/masters_theses/537","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Monika Gehlawat","Charles Sumner","Martina Sciolino"]},{"key":"dc:creator","label":"Author","values":["Hosemann, John David, Jr."]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.available","label":"Dc Date Available","values":["2018-11-15T08:00:00Z"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["English"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Masters Thesis"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Master of Arts (MA)"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://aquila.usm.edu/masters_theses/537"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["Americans today have come to remember the unrest of the 1960s through the many shocking photographic images that emerged during that time. Images of assassinations, war, murders, and social upheaval have come to characterize this decade as particularly (perhaps perversely) photogenic. Further, these images have revealed the photographic medium as uniquely suited for confirming a violent reality that, at the time, seemed incomprehensible to an increasingly disillusioned public. In this discussion I seek to develop an understanding of photography as a theoretical process that can illuminate how we represent violent subject matter. In doing so, I apply these concepts to the New Journalism of the 1960s, which can be viewed as texts that grapple with the same types of social turbulence depicted in the many indelible images that have come to characterize this time period.
"]},{"key":"dc:title","label":"Title","values":["Photo-Poetics: Photographic Narratives in the New Journalism"]}]}],"canonical_facts":{"dc:contributor":["Monika Gehlawat","Charles Sumner","Martina Sciolino"],"dc:creator":["Hosemann, John David, Jr."],"dc:date.available":["2018-11-15T08:00:00Z"],"dc:description.abstract":["Americans today have come to remember the unrest of the 1960s through the many shocking photographic images that emerged during that time. Images of assassinations, war, murders, and social upheaval have come to characterize this decade as particularly (perhaps perversely) photogenic. Further, these images have revealed the photographic medium as uniquely suited for confirming a violent reality that, at the time, seemed incomprehensible to an increasingly disillusioned public. In this discussion I seek to develop an understanding of photography as a theoretical process that can illuminate how we represent violent subject matter. In doing so, I apply these concepts to the New Journalism of the 1960s, which can be viewed as texts that grapple with the same types of social turbulence depicted in the many indelible images that have come to characterize this time period.
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