Chloroform, telegraphy, steamships and rifles were distinctly modern features of the Crimean War. Covered by a large corps of reporters, illustrators and cameramen, it also became the first media war in history. For the benefit of the ubiquitous artists and correspondents, both the domestic events were carefully staged, giving the Crimean War an aesthetically alluring, even spectacular character. With their exclusive focus on written sources, historians have consistently overlooked this visual dimension of the Crimean War. Photo-historian Ulrich Keller challenges the traditional literary bias by drawing on a wealth of pictorial materials from scientific diagrams to photographs, press illustration and academic painting. The result is a new and different historical account which emphasizes the careful aesthetic scripting of the war for popular mass consumption at home.

The Crimean War (1853-1856) was the first modern war. A vicious struggle between imperial Russia and an alliance of the British, French and Ottoman Empires, it was the first conflict to be reported first-hand in newspapers, painted by official war artists, recorded by telegraph and photographed by camera. In her new short history, Trudi Tate discusses the ways in which this novel representation itself became part of the modern war machine. She tells forgotten stories about the war experience of individual soldiers and civilians, including journalists, nurses, doctors, war tourists and other witnesses. At the same time, the war was a retrograde one, fought with the mentality, and some of the equipment, of Napoleonic times. Tate argues that the Crimean War was both modern and old-fashioned, looking backwards and forwards, and generating optimism and despair among those who lived through it. She explores this paradox while giving full coverage to the bloody battles (Alma, Balaklava, Inkerman), the siege of Sebastopol, the much-derided strategies of the commanders, conditions in the field and the cultural impact of the anti-Russian alliance.

Massive anthology of essays and illustrations published in NOT BORED! between 1983 and 2010.

This book looks at the roots of a global visual news culture: the trade in illustrations of the news between European illustrated newspapers in the mid-nineteenth century. In the age of nationalism, we might suspect these publications to be filled with nationally produced content, supporting a national imagined community. However, the large-scale transnational trade in illustrations, which this book uncovers, points out that nineteenth-century news consumers already looked at the same world. By exchanging images, European illustrated newspapers provided them with a shared, transnational, experience.