000			03551nam a22003018a 4500
005			20250918150658.0
008			120227s2011 nyua b 001 0 eng
020			_a9781594203015 (hbk.) _cRM119.95
039		9	_a201204171408 _brosli _c201204171358 _drosli _c201204051821 _dmazarita _y02-27-2012 _zlatihan
040			_dUKM
090			_aTR820.5.M637
090			_aTR820.5 _b.M637
100	1		_aMorris, Errol.
245	1	0	_aBelieving is seeing : _bobservations on the mysteries of photography / _cErrol Morris.
260			_aNew York : _bPenguin Press, _c2011.
300			_axxv, 310 p. : _bill. ; _c24 cm.
504			_aIncludes bibliographical references and index.
520			_a'Academy Award-wining filmmaker Errol Morris investigates the hidden truths behind a series of documentary photographs. In Believing Is Seeing Academy Award-winning director Errol Morris turns his eye to the nature of truth in photography. In his inimitable style, Morris untangles the mysteries behind an eclectic range of documentary photographs, from the ambrotype of three children found clasped in the hands of an unknown soldier at Gettysburg to the indelible portraits of the WPA photography project. Each essay in the book presents the reader with a conundrum and investigates the relationship between photographs and the real world they supposedly record. During the Crimean War, Roger Fenton took two nearly identical photographs of the Valley of the Shadow of Death-one of a road covered with cannonballs, the other of the same road without cannonballs. Susan Sontag later claimed that Fenton posed the first photograph, prompting Morris to return to Crimea to investigate. Can we recover the truth behind Fenton's intentions in a photograph taken 150 years ago? In the midst of the Great Depression and one of the worst droughts on record, FDR's Farm Service Administration sent several photographers, including Arthur Rothstein, Dorothea Lange, and Walker Evans, to document rural poverty. When Rothstein was discovered to have moved the cow skull in his now-iconic photograph, fiscal conservatives-furious over taxpayer money funding an artistic project-claimed the photographs were liberal propaganda. What is the difference between journalistic evidence, fine art, and staged propaganda? During the Israeli-Lebanese war in 2006, no fewer than four different photojournalists took photographs in Beirut of toys lying in the rubble of bombings, provoking accusations of posing and anti-Israeli bias at the news organizations. Why were there so many similar photographs? And were the accusers objecting to the photos themselves or to the conclusions readers drew from them? With his keen sense of irony, skepticism, and humor, Morris reveals in these and many other investigations how photographs can obscure as much as they reveal and how what we see is often determined by our beliefs. Part detective story, part philosophical meditation, Believing Is Seeing is a highly original exploration of photography and perception from one of America's most provocative observers'-- _cProvided by publisher.
650		0	_aDocumentary photography.
856	4	2	_3Cover image _uftp://ppftpuser:welcome@ftp01.penguingroup.com/Booksellers and Media/Covers/2008_2009_New_Covers/9781594203015.jpg
907			_a.b15252905 _b2021-05-28 _c2019-11-12
942			_c01 _n0 _kTR820.5.M637
914			_avtls003488914
990			_ark4
991			_aFakulti Sains Sosial dan Kemanusiaan
998			_at _b2012-01-02 _cm _da _feng _gnyu _y0 _z.b15252905
999			_c509368 _d509368