A Cold War Tourist and His Camera

A Cold War Tourist and His Camera

Martha Langford
John Langford
Copyright Date: 2011
Pages: 208
https://www.jstor.org/stable/j.ctt1q5zxw
  • Cite this Item
  • Book Info
    A Cold War Tourist and His Camera
    Book Description:

    Martha Langford and John Langford examine their father's apparently innocuous photographic experience, revealing the complexity of both the images and their creator. An intelligent and personal look at the ways that the historical and the private are represented and remembered, A Cold War Tourist and His Camera stages the family slide show as you've never seen it before.

    eISBN: 978-0-7735-9077-9
    Subjects: Art & Art History

Table of Contents

  1. Front Matter
    (pp. i-iv)
  2. Table of Contents
    (pp. v-vi)
  3. Acknowledgments
    (pp. vii-2)
    ML and JL
  4. INTRODUCTION Setting Up the Screen
    (pp. 3-30)

    For almost fifty years, between the end of World War II and 1991, the United States and the Soviet Union, together with their allies and client states, engaged in a ‘cold war.’ This term describes a protracted confrontation in which both sides use the threat of armed and nuclear attack, economic power, diplomacy, and a variety of unconventional warfare techniques (“propaganda, economic warfare, sabotage, espionage, subversion, strikes, civil disturbances, terrorism, political warfare, and guerilla warfare”).¹ Collective memories of this era are sparked by iconic media images of tanks moving into cities, mushroom clouds, schoolchildren ducking under their desks, shopping carts...

  5. 1 THE NORTH AMERICAN TOUR Northern Outposts and the Heart of Empire
    (pp. 31-54)

    Course Sixteen’s North American tour, carried out between 14 January and 2 February 1963, was designed “to gain knowledge of the military strength and potential of Canada and the United States.”¹ It was a circuit of military and strategic installations and followed directly on the heels of the group’s completion of the “Modern Weapons and Methods of Warfare” problem, served up in two parts because of the Christmas break.

    The Weapons and Warfare problem seemed to spark the holiday mood. Canadian army colonel R.T. Bennett’s introduction to Colonel W.R. Sawyer’s series of lectures on “The Theory of Nuclear Energy and...

  6. 2 THE AFRICAN TOUR Unwilling Cold War Players
    (pp. 55-104)

    The much heralded Overseas Tours took place in the last quarter of the college year. NDC directing staff divided the students into two groups, one syndicate destined for Africa and Europe, the other covering the Middle East and Asia, and also appointed their military and civilian leaders. The Afro-European section left Canada on 15 April and was slated to return home on 7 June. Departure and return dates had been fixed since the beginning of the course, but the itinerary for the five-week tour was never quite certain. Berlin, it has been noted, might be struck off any time if...

  7. 3 THE EUROPEAN TOUR Closing with the Enemy
    (pp. 105-154)

    After Egypt, the tour moved on to Europe, where the Soviet Union suffered no power disadvantages relative to its Cold War enemies. The dance card was full – visits to Rome, Verona, Vicenza, Venice, Belgrade, Bonn, Berlin, Brussels, London, and Paris in that order. In the last three capitals, our travellers met up with their colleagues from the Asian tour. By that stage, they were coming down from the intensity of Berlin, the briefings were judged to be repetitive and superficial, and the agenda was full of social activities. Earlier stops in Italy and Berlin had added real value to the...

  8. CONCLUSION Lights!
    (pp. 155-158)

    Warren Langford’s images belong to a growing field of photographic investigation called ‘the vernacular’; these are product and producers of everyday photographic experience. In this brief examination of a very modest body of work, we have urged the reader to consider such experience in the broadest possible terms. Photographic experience includes, but is not limited to, the multiple perspectives of those photographing, those being photographed, and those watching the photographic act take place. It also includes the backstories of those individuals and institutions that have created or allowed photographic opportunities to occur. Add to these elements the life of the...

  9. Notes
    (pp. 159-174)
  10. Bibliography
    (pp. 175-188)
  11. Index
    (pp. 189-195)