Cold War Camera explores the visual mediation of the Cold War and illuminates photography’s role in shaping the ways it was prosecuted and experienced. The contributors show how the camera stretched the parameters of the Cold War beyond dominant East-West and US-USSR binaries and highlight the significance of photography from across the global South. Among other topics, the contributors examine the production and circulation of the iconic figure of the “revolutionary Vietnamese woman” in the 1960s and 1970s; photographs connected with the coming of independence and decolonization in West Africa; family photograph archives in China and travel snapshots by Soviet citizens; photographs of apartheid in South Africa; and the circulation of photographs of Inuit Canadians who were relocated to the extreme Arctic in the 1950s. Highlighting the camera’s capacity to envision possible decolonialized futures, establish visual affinities and solidarities, and advance calls for justice to redress violent proxy conflicts, this volume demonstrates that photography was not only crucial to conducting the Cold War, it is central to understanding it. Contributors. Ariella Azoulay, Jennifer Bajorek, Erina Duganne, Evyn Lê Espiritu Gandhi, Eric Gottesman, Tong Lam, Karintha Lowe, Ángeles Donoso Macaya, Darren Newbury, Andrea Noble, Sarah Parsons, Gil Pasternak, Thy Phu, Oksana Sarkisova, Olga Shevchenko, Laura Wexler, Guigui Yao, Donya Ziaee, Marta Ziętkiewicz

This photographic record of the RAF during the 1950s looks set to appear widely. Featuring varied and dynamic visual representation throughout, the events of this important decade are enlivened to great effect. The 1950s was a pivotal decade in aviation for many reasons. The RAF were employed in a great number of post-WWII roles, and the beginning of the Cold War saw many advances in the field of developmental aviation. The early years of the decade saw the Coronation of HRH Queen Elizabeth II take place, and a variety of photographs taken at the Queen's Review flypast at RAF Oldham on the 15 July 1953 are arrayed here. Meteors, Sabres, Chipmunks, Canberras, Vulcans... the list goes on. A wide selection of action shots illustrate the impressive aesthetics of some of these aircraft in formation. Shots of aircraft utilised during the course of the Cold War also feature, as do highly intriguing photographs of the Thor Intermediate Range Ballistic Missiles, stored on Bomber Command bases towards the end of the decade. Each chapter focusses on a specific year, relaying all the most fascinating highlights. This is a colourful, insightful and image-packed history, told with narrative flair and a clear passion for the subject matter at hand.

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.

From the spymaster and inspiration for the movie Argo, discover the "real-life spy thriller" of the brilliant but under-supported CIA operatives who developed breakthrough spy tactics that helped turn the tide of the Cold War (Malcolm Nance). Antonio Mendez and his future wife Jonna were CIA operatives working to spy on Moscow in the late 1970s, at one of the most dangerous moments in the Cold War. Soviets kept files on all foreigners, studied their patterns, and tapped their phones. Intelligence work was effectively impossible. The Soviet threat loomed larger than ever. The Moscow Rules tells the story of the intelligence breakthroughs that turned the odds in America's favor. As experts in disguise, Antonio and Jonna were instrumental in developing a series of tactics -- Hollywood-inspired identity swaps, ingenious evasion techniques, and an armory of James Bond-style gadgets -- that allowed CIA officers to outmaneuver the KGB. As Russia again rises in opposition to America, this remarkable story is a tribute to those who risked everything for their country, and to the ingenuity that allowed them to succeed.

Used for everything from geographic evaluation to secret spy missions, aerial photography has a rich and storied history, ably recounted here in Photography and Flight. Aerial photography is marked by its dependency on technological developments in both photography and aerospace, and the authors chart the history of this photography as it tracked the evolution of these technologies. Beginning with early images taken from hot-air balloons, fixed platforms, and subsequent handheld camera technology, Denis Cosgrove and William Fox then explain how military reconnaissance and governmental projects were instrumental in catalyzing these and other innovations in the field. They examine pivotal historical moments in which aerial photography began to establish itself as essential tool, such as in World War II military strategies, high-altitude photography taken from postwar rockets and aircraft, and the use of aerial photography during the cold war and the Cuban Missile Crisis. The book also explores the advancement of geographic scholarship through aerial photography, ranging from military excursions into Antarctica to the images of the curvature of the earth taken during the Apollo space missions. While digital technology and remote sensing have changed the landscape of photography, Photography and Flight argues that they have not diminished the significance of aerial photography in providing images of the earth. Rather, new technologies and resulting innovations such as Google Earth have enabled the mass democratization of access to such information. Photography and Flight ultimately reveals how the camera lens from far away continues to unearth telling details about the land and those who live upon it.

"The story of the Cold War era Lookout Mountain Laboratory, or the 1352nd Photographic Group of the United States Air Force, which employed hundreds of Hollywood studio veterans. Engages with issues of the Cold War state and visual culture"--