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008			011027s2001 at abcf b 001 0 eng d
011			_aBIB MATCHES WORLDCAT
020			_a9057005697
020			_a9789057005695
035			_a(ATU)b10747710
035			_a(OCoLC)48151912
040			_aWYU _beng _erda _cWYU _dUKM _dHRH _dOCL _dBAKER _dNLGGC _dYDXCP _dOCLCG _dDRB _dATU
043			_ae-un---
050		4	_aDK215 _b.K455 2001
082	0	4	_a704.9499470738 _221
100	1		_aKeller, Ulrich, _d1944- _eauthor. _9286317
245	1	4	_aThe ultimate spectacle : _ba visual history of the Crimean War / _cUlrich Keller.
264		1	_aAustralia ; _aAmsterdam, Netherlands : _bGordon and Breach, _c[2001]
264		4	_c©2001
300			_axv, 296 pages, 8 unnumbered pages of plates : _billustrations (some colour), maps, portraits ; _c28 cm.
336			_atext _btxt _2rdacontent
337			_aunmediated _bn _2rdamedia
338			_avolume _bnc _2rdacarrier
490	1		_aDocumenting the image, _x1068-6894 ; _vv. 7
504			_aIncludes bibliographical references (pages 277-290) and index.
505	0	0	_g1. _t"Vauxhall is Far Prettier" Narrative and Visual scenarios -- _g2. _t"Storm'd at With Shot and Shell" They heyday of lithography and the London shows -- _g3. _t"Bastard of History, Only Much Truer" The ascendancy of picture reportage -- _g4. _t"The Valley of the Shadow of Death" The triumph of photography -- _g5. _t"My Nearest and Dearest" Home-front scenarios -- _g6. _t"The Usual Plunging Horses" The swan-song of history painting -- _g7. _tConclusion.
520	1		_a"Chloroform, telegraphy, steamships and rifles were distinctly modern features of the Crimean War. Covered by a large corps of reporters, illustrators and cameramen, it also became the first media war in history. For the benefit of the ubiquitous artists and correspondents, both the military and the domestic events were carefully staged, giving the Crimean War an aesthetically alluring, even spectacular character." "With their exclusive focus on written sources, historians have consistently overlooked this visual dimension of the Crimean War. Photo-historian Ulrich Keller challenges the traditional literary bias by drawing on a wealth of pictorial materials from scientific diagrams to photographs, press illustration and academic painting. The result is a new and different historical account which emphasizes the careful aesthetic scripting of the war for popular mass consumption at home. Included in this media history of the Crimean War are elements of its still unwritten social history. In the Victorian era, the proliferation of lithography, press illustration, photography and other mass media, gave various social groups a chance to circulate competing views of the war where, previously, monarchs had possessed a near monopoly on the pictorial representation of history. The broad range of visual sources included in the book thus documents not only the war between the British and the Russians in the Crimea but also the battle of representations which raged in the deeply divided society at home."--BOOK JACKET.
588			_aMachine converted from AACR2 source record.
650		0	_aCrimean War, 1853-1856 _vPictorial works _9710926
650		0	_aCrimean War, 1853-1856 _vArt and the war _9710934
830		0	_aDocumenting the image ; _vv. 7. _91044529
907			_a.b10747710 _b06-09-21 _c27-10-15
942			_cB
945			_a704.9499470738 KEL _g1 _iA256322B _j0 _lcmain _o- _p$133.79 _q- _r- _s- _t0 _u8 _v0 _w0 _x2 _y.i1183643x _z29-10-15
998			_ab _ac _b06-04-16 _cm _da _feng _gat _h4
999			_c1140707 _d1140707