An editorial introduction places the articles within a narrative structure that tells a collectivr tale of how experiment called "America" took on visual shape and meaning. Suggested readings, a primer on how to “read” an image, and a listing of visual archives and collections complete the volume, making this an indispensable text for those in American studies and related fields.
Introduction (Ardis Cameron).
PART I: 1860–1900.
1. Sleuthing Towards America: Visual Detection in Everyday Life (Ardis Cameron).
2. Cartes de Visite Portrait Photographs and the Culture of Class Formation (Andrea L. Volpe).
PART II: 1900–1940.
The Embodied Nation: Race, Gender, and the Politics of the Camera.
3. Photographing the "American Negro": Nation, Race, and Photography at the Paris Exposition of 1900 (Shawn Michelle Smith).
4. Techniques of the Imaginary Nation: Engendering Family Photography (Laura Wexler).
"The Eye of Power": Cross–Class Looking.
5. Private Eyes, Public Women: Images of Class and Sex in the Urban South, Atlanta, Georgia, 1913–1915 (Jacquelyn Dowd Hall).
6. Margaret Bourke–White’s Red Coat; or, Slumming in the Thirties (Paula Rabinowitz).
PART III: 1940–2000.
Home and Nation: Imaging the "All–American" Family.
7. "The Kind of People Who Make Good Americans": Nationalism and Life’s Family Ideal (Wendy Kozol).
8. Visua Culture and Working–Class Community: Photography and the Organizing of the Steelworkers’ Union in Chicago (Larry Peterson).
9. Sit–coms and Suburbs: Positioning the 1950s Homemaker (Mary Beth Haralovich).
The Eye of Difference: The Politics of Appearance.
10. The Zoot–Suit and Style Warfare (Stuart Cosgrove).
11. Looking Jewish, Seeing Jews (Matthew Frye Jacobson).
Troubling Sights (Sites): Visual Maps and America’s "Others".
12. The Photograph as an Intersection of Gazes (Catherine A. Lutz and Jane L. Collins).
13. When Strangers Bring Cameras: The Poetics and Politics of Othered Places (Ardis Cameron).
Appendix A: "Reading the Visual Record" (Elspeth H. Brown).
Appendix B: List of Visual Archives (Ardis Cameron).
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