Margarethe Szeless | University of Vienna (original) (raw)
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Papers by Margarethe Szeless
History of Photography
This article examines the photographic subject of the return of Austrian prisoners of war in the ... more This article examines the photographic subject of the return of Austrian prisoners of war in the aftermath of the Second World War. Scholars and curators have singled out what are known as the 'homecomer' photographs by the Austrian photographer Ernst Haas, praising their artistic quality and assigning these works an iconic status. This approach has obscured the broader historical background of this subject as well as the editorial practices, collaborative efforts, and propagandistic intentions of these works in the field of photojournalism. In contrast, this article focuses on the immediate historical and political context of returning prisoner-of-war photographs in the Austrian illustrated press, arguing that they were part of a broad visual discourse deliberately adopted by the postwar media for the purposes of Cold War propaganda.
History of Photography
This article examines the photographic subject of the return of Austrian prisoners of war in the ... more This article examines the photographic subject of the return of Austrian prisoners of war in the aftermath of the Second World War. Scholars and curators have singled out what are known as the 'homecomer' photographs by the Austrian photographer Ernst Haas, praising their artistic quality and assigning these works an iconic status. This approach has obscured the broader historical background of this subject as well as the editorial practices, collaborative efforts, and propagandistic intentions of these works in the field of photojournalism. In contrast, this article focuses on the immediate historical and political context of returning prisoner-of-war photographs in the Austrian illustrated press, arguing that they were part of a broad visual discourse deliberately adopted by the postwar media for the purposes of Cold War propaganda.
History of Photography, 2019
This article examines the photographic subject of the return of Austrian prisoners of war in the... more This article examines the photographic subject of the return of Austrian prisoners of
war in the aftermath of the Second WorldWar. Scholars and curators have singled out
what are known as the ‘homecomer’ photographs by the Austrian photographer Ernst
Haas, praising their artistic quality and assigning these works an iconic status. This
approach has obscured the broader historical background of this subject as well as the
editorial practices, collaborative efforts, and propagandistic intentions of these works in
the field of photojournalism. In contrast, this article focuses on the immediate historical
and political context of returning prisoner-of-war photographs in the Austrian illustrated
press, arguing that they were part of a broad visual discourse deliberately
adopted by the postwar media for the purposes of Cold War propaganda.
Fotogeschichte / No. 135, 2015
This article deals with hitherto unknown facts about the first years of Inge Morath`s career in p... more This article deals with hitherto unknown facts about the first years of Inge Morath`s career in post-war Vienna. She worked for the Feature Section of the American Informations Services (ISB) and then became Austrian picture editor of "Heute" magazine edited by the American occupation forces in Munich. A close reading of the newly discovered letters from Morath to her friend, the playwright Hans Weigl, shed light on Morath`s collaboration with Austrian photographer Ernst Haas and on her first steps towards creative photography.
History of Photography
This article examines the photographic subject of the return of Austrian prisoners of war in the ... more This article examines the photographic subject of the return of Austrian prisoners of war in the aftermath of the Second World War. Scholars and curators have singled out what are known as the 'homecomer' photographs by the Austrian photographer Ernst Haas, praising their artistic quality and assigning these works an iconic status. This approach has obscured the broader historical background of this subject as well as the editorial practices, collaborative efforts, and propagandistic intentions of these works in the field of photojournalism. In contrast, this article focuses on the immediate historical and political context of returning prisoner-of-war photographs in the Austrian illustrated press, arguing that they were part of a broad visual discourse deliberately adopted by the postwar media for the purposes of Cold War propaganda.
History of Photography
This article examines the photographic subject of the return of Austrian prisoners of war in the ... more This article examines the photographic subject of the return of Austrian prisoners of war in the aftermath of the Second World War. Scholars and curators have singled out what are known as the 'homecomer' photographs by the Austrian photographer Ernst Haas, praising their artistic quality and assigning these works an iconic status. This approach has obscured the broader historical background of this subject as well as the editorial practices, collaborative efforts, and propagandistic intentions of these works in the field of photojournalism. In contrast, this article focuses on the immediate historical and political context of returning prisoner-of-war photographs in the Austrian illustrated press, arguing that they were part of a broad visual discourse deliberately adopted by the postwar media for the purposes of Cold War propaganda.
History of Photography, 2019
This article examines the photographic subject of the return of Austrian prisoners of war in the... more This article examines the photographic subject of the return of Austrian prisoners of
war in the aftermath of the Second WorldWar. Scholars and curators have singled out
what are known as the ‘homecomer’ photographs by the Austrian photographer Ernst
Haas, praising their artistic quality and assigning these works an iconic status. This
approach has obscured the broader historical background of this subject as well as the
editorial practices, collaborative efforts, and propagandistic intentions of these works in
the field of photojournalism. In contrast, this article focuses on the immediate historical
and political context of returning prisoner-of-war photographs in the Austrian illustrated
press, arguing that they were part of a broad visual discourse deliberately
adopted by the postwar media for the purposes of Cold War propaganda.
Fotogeschichte / No. 135, 2015
This article deals with hitherto unknown facts about the first years of Inge Morath`s career in p... more This article deals with hitherto unknown facts about the first years of Inge Morath`s career in post-war Vienna. She worked for the Feature Section of the American Informations Services (ISB) and then became Austrian picture editor of "Heute" magazine edited by the American occupation forces in Munich. A close reading of the newly discovered letters from Morath to her friend, the playwright Hans Weigl, shed light on Morath`s collaboration with Austrian photographer Ernst Haas and on her first steps towards creative photography.