| Description |
1 online resource : illustrations |
| Contents |
Front Cover -- Half Title -- Frontispiece -- Sight Readings Photographers and American Jazz, 1900- 60 -- Copyright information -- Dedication -- Table of contents -- Illustrations -- Foreword -- Acknowledgments -- A Note on Language -- Introduction Approaching Jazz Photography -- I. Agency and jazz photography -- II. Scope of the study -- III. Methodology -- Notes -- 1 Jazz Photography and Photographers, 1900-60 -- I. The significance of jazz photographs -- Photographs and the "Golden Age" of jazz -- Interest in jazz photography -- II. Key names in jazz photography -- Studio photographers -- African American jazz photography -- White photographers of the interwar period -- The European exiles -- Notes -- 2 Jazz Writing and the Photographic Image -- I. Jazz studies and visual evidence -- II. Perception and surface interpretation -- The lure of photographic surfaces: Four bebop pioneers -- III. Conclusion: The new jazz photography canon -- Notes -- 3 The Jazz Image as Document -- I. Introduction -- II. Reading documents -- Musicians and their activities -- Musical relationships -- Evolution of jazz bands -- Discographies -- Studio recording techniques -- Gender and race in jazz -- Life on the road -- The jazz family album -- Notes -- 4 Expression in the Jazz Image -- I. Visualizing the sounds of jazz -- Sight and sound -- Visualizing musical embodiment -- Spontaneity and improvisation -- Photography and interiority -- II. Visualizing jazz culture -- Jazz as subculture -- An artistic subculture -- Black culture -- The "jazz life" -- III. The expressivity of material objects -- IV. Conclusion: Reuniting document and expression -- Notes -- 5 Jazz in the Portrait Studio -- I. Artistic and theatrical portrait studios -- Theatrical portrait studios -- Hollywood modernism -- II. Jazz enters the studio -- Early jazz studio portraiture |
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Jazz "stars" and the portrait -- III. Jazz in the émigré studio -- Early emigrants and strategies of assimilation -- Maurice Seymour Studio -- Murray Korman -- Bruno of Hollywood -- James J. Kriegsmann -- IV. Mid-century studio photography -- V. Conclusion -- Notes -- 6 Document and Realism Early African American Jazz Photography -- I. Black photography in the early twentieth century -- The development of black photography -- "First-generation" concerns -- II. New Orleans Band Photography -- III. Black studios, 1900-1930s -- James Van Der Zee -- Edward Elcha -- Carroll T. Maynard -- Woodard's Studios -- IV. Conclusion: Authenticity from the inside -- Notes -- 7 Expressive Realism African American Photography -- I. "Second-generation" Black identity and photography -- Communities and the Black press -- The nature of expressive realism -- II. Black photographers and jazz -- Jacks of all trades -- African American eyes on music -- Charles "Teenie" Harris: Celebrating the unidentified -- Howard Morehead and the glamour of jazz -- The photojournalist's' credo: Bob Douglas and Ted Williams -- III. Expressive realism after mid-century -- Agency and expression: Roy DeCarava -- The insider: Milt Hinton -- IV. Conclusion -- Notes -- 8 Authenticity and Art "New Generation" White Photography -- I. A new generation -- Photographers and the new middle class -- Authenticity, art, and culture in the 1930s -- Authenticity and art: The "cultural whole" -- A common artistic discourse -- Jazz and the new generation -- Photographers and jazz -- II. Framing authenticity and art -- Provenance and place: Documenting authenticity -- III. Authenticity and the "amateurs" -- Expressions of art -- Capturing the artistry of the jazz musician -- The "look of jazz" -- IV. Conclusion -- Notes -- 9 Interrogating Jazz Exiles and Jewish Photography -- I. Displaced identities |
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Exiled photographers of the 1930s and 1940s -- Adaptation and reflexivity -- Photographers and the agency of adaptation -- Jazz, Jews, and Jewish photography -- II. Jazz and exilic vision -- The exile as outsider -- Clemens Kalischer -- Otto Hess and Henry Ries -- The exile as portraitist -- Gjon Mili -- Fred Plaut -- Notes -- 10 Looking Back, Looking Forward Jazz Photography after 1960 -- Jazz, photography, and photographers after 1960 -- Looking forward, looking back -- Notes -- Conclusion: Herb Snitzer, Pops (1960) -- Notes -- Appendix Agency in Jazz Photography -- I. Photography and agency -- The case for photographic agency -- A technology of self -- Photographic agency in practice -- II. Tradition, affinity, and subjectivity -- Reflexivity, identity, and photographic practice -- III. Conclusion -- Notes -- Bibliography -- Personal interviews and correspondence -- Photographic archives consulted -- Other sources -- Index -- Back Cover |
| Summary |
Discussion of jazz as a visual subject and analysis of how photographers approached their subject. Includes work often overlooked - from African American photojournalists, studio photographers, early twentieth-century émigrés, Jewish exiles of the 1930s and vernacular snapshots. 135 half-tones |
| Bibliography |
Includes bibliographical references and index |
| Notes |
Online resource; title from digital title page (viewed on February 01, 2022) |
| Subject |
Jazz in art.
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Photography -- History -- 20th century
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Jazz -- History and criticism
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MUSIC / Genres & Styles / Jazz
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Jazz
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Jazz in art
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Photography
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| Genre/Form |
Criticism, interpretation, etc.
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History
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| Form |
Electronic book
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| ISBN |
9781789384239 |
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9781789384222 |
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1789384222 |
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1789384230 |
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