01925    a2200289   450000500170000000800390001702000220005603700360007804000070011404100080012107200160012907200140014507200140015907200140017307200120018707200120019907200210021107200210023207200210025307200200027410000160029424500500031025000060036026000320036630000100039852012270040820250526161936.0250430042022GB                   eng    a9780367609962qBC  bTaylor & FranciscGBP 29.99fBB  a01  aeng7 aNHTB2thema7 aAJ2thema7 aAF2thema7 aHBTB2bic7 aAJ2bic7 aAF2bic7 aHIS0000002bisac7 aHIS0170002bisac7 aHIS0360702bisac7 a070.43332bisac1 aJohn Taylor10aWar PhotographybRealism in the British Press  a1  aOxfordbRoutledgec20221104  a208 p  bWhat makes news patriotic? How is photojournalism used in wartime? In a national crisis, the press operates under various forms of censorship. Within these constraints, it continues to produce news in line with what is considered newsworthy. Everyday ‘human interest’ photographs and stories, which tell of bizarre, comic or tragic events, are turned to patriotic ends. The subject of death is transformed by its use in saving the nation; it is accompanied and displaced by more comforting ideas. Originally published in 1991, with the help of full-page illustrations from newspapers and journals, John Taylor looks at the special truth of war news, how it is built on established ways of storytelling, and how photography is used to make it seem real. Taking examples from the First and Second World Wars, the Falklands campaign and present-day accounts of terrorism and crime within the United Kingdom, Taylor shows that aside from legal controls, the press’s own methods bring it close to the official perspective. Drawing on history, sociology and photo-history, War Photography is a well-illustrated account of the place of photojournalism in the news industry and the use of news in creating national identity.