|
If you are seeing this message, you may be experiencing temporary network problems. Please wait a few minutes and refresh the page. If the problem persists, you may wish to report it to your local Network Manager.
It is also possible that your web browser is not configured or not able to display style sheets. In this case, although the visual presentation will be degraded, the site should continue to be functional. We recommend using the latest version of Microsoft or Mozilla web browser to help minimise these problems.
Wiley InterScience | ||||||||||||
 AntipodeVolume 29 Issue 3, Pages 227 - 255 Published Online: 16 Dec 2002 Journal compilation © 2010 Editorial Board of Antipode
Abstract | Full Text: PDF (Size: 458K) | Related Articles | Citation Tracking  Watching the Bombs Go Off: Photography, Nuclear Landscapes, and Spectator Democracy Copyright Editorial Board of Antipode 1997 ABSTRACTThis study examines the role of photography in the Atomic Energy Commission's representation of nuclear weapons testing during the 1950s. Pictures of fireballs and mushroom clouds functioned as part of an explicit AEC strategy to reduce the public to spectators. These photographs were designed to take the place out of the landscape — unlike the contaminated places near America's nuclear proving grounds, the pages of popular magazines were not subject to radioactive fall out. The seemingly neutral observations of the camera obscured the morphologies it appeared to represent. These arguments are developed primarily in terms of the militarization of space in Nevada, including a new geography of nuclear armament; the "story" of bomb testing produced though interaction of popular media with AEC objectives; and the social-theoretical context of photography, representation, and spectacle as politically malleable processes. | 
| |||||||||||
