LEADER 00000nam  22004458i 4500 
001    BK0025882100 
003    DLC 
005    20200303155629.2 
008    200210s2020    nyu      b    001 0 eng   
010    2019039332 
020    9780190923815|c29.95 
020    0190923814|c29.95 
040    LBSOR/DLC|beng|erda|cDLC 
082 00 779/.99405318|223 
100 1  Shneer, David,|d1972-|eauthor. 
245 10 Grief :|bthe biography of a Holocaust photograph /|cDavid 
263    2007 
264  1 New York, NY :|bOxford University Press,|c[2020] 
300    pages cm 
336    text|btxt|2rdacontent 
337    unmediated|bn|2rdamedia 
338    volume|bnc|2rdacarrier 
504    Includes bibliographical references and index. 
505 0  Introduction: Introducing Grief -- The making of a war 
       photographer and the German occupation of Kerch -- 
       Witnessing Grief -- The aftermath of Grief -- Producing 
       and displaying Grief -- Valuing Grief -- How Grief became 
       a commodity? -- Seeing the Holocaust in Grief. 
520    "In January 1942, Soviet photographers came upon a scene 
       like none they had ever documented. That day, they took 
       pictures of the first liberation of a German mass atrocity
       site, where an estimated 7,000 Jews and others were 
       executed at a trench near Kerchon the Crimean peninsula. 
       Dmitri Baltermants, a photojournalist working for the 
       Soviet newspaper Izvestiia, took pictures that day that 
       would have a long life in shaping the image of Nazi 
       genocide in and against the Soviet Union. Presenting never
       beforeseen photographs, Grief: The Biography of a 
       Holocaust Photograph shows how Baltermants used the image 
       of a grieving woman to render this gruesome mass atrocity 
       into a transcendentally human tragedy. David Shneer tells 
       the story of how one photograph fromthe trench became much
       more widely known than the others, eventually being titled
       "Grief." Baltermants turned this shocking atrocity 
       photograph into a Cold War era artistic meditation on the 
       profundity and horror of war that today can be found in 
       Holocaust archives as well as art museums and at art 
       auctions. Although the journalist documented murdered Jews
       in other pictures he took at Kerch, in "Grief" there are 
       likely no Jews among the dead or the living, save for the 
       possible NKVD officer securing the site. Nonetheless, 
       Shneer shows that this photograph must be seen as an 
       iconic Holocaust photograph. Unlike emaciated camp 
       survivors or barbed wire fences, Shneer argues, the 
       Holocaust by bullets in the Soviet Union make "Grief" a 
       quintessential Soviet image of Nazi genocide"--|cProvided 
       by publisher. 
600 10 Balaʹtermant̐Μưs, D.|q(Dmitri♯Ư).|tGoraʹe. 
650  0 War photographers|zSoviet Union|vBiography. 
650  0 War photographers|zSoviet Union|xHistory. 
650  0 World War, 1939-1945|xPhotography. 
650  0 War photography|zUkraine|zKerch. 
650  0 Documentary photography|zSoviet Union|xHistory. 
650  0 World War, 1939-1945|xAtrocities|zUkraine|zKerch. 
650  0 Massacres|zUkraine|zKerch. 
650  0 Holocaust, Jewish (1939-1945)|xIn mass media. 
776 08 |iOnline version: 
776 08 Shneer, David, 1972-|tGrief|dNew York, NY : Oxford 
       University Press, [2020]|z9780190923822|w(DLC)  2019039333
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