War and the nude: The photography of Bill Brandt in the 1940s

Journal of British Studies

Volumn 45, Issue 1, 2006, Pages 118-138

  Brooke, Stephen ^a  

^a YORK UNIVERSITY   (Canada)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 61149343449     PISSN: 00219371     EISSN: None     Source Type: Journal    
DOI: 10.1086/497058     Document Type: Article

References (91)

1. "Shelter Life," Picture Post (London), 26 October 1940, 10-11
2. Nick Hayes, "An 'English War': Wartime Culture and 'Millions Like Us,'" in British Culture in the Second World War, ed. Nick Hayes and Jeff Hill (Liverpool, 1999), 3
3. see also Angus Calder, The People's War (London: 1969)
4. Robert Hewison, Culture and Consensus: England, Art and Politics since 1940 (London, 1995)
5. Alan Sinfield, Literature Politics and Culture in Postwar Britain (London, 1997)
6. Geoff Eley, "Finding the People's War: Film, British Collective Memory and World War Two," American Historical Review 106 (2001): 821
7. All photographs referred to in the text without illustration can be found in Brandt: The Photography of Bill Brandt, ed. John-Paul Kemot (New York, 1999)
8. Bill Brandt, "A Statement (1970)," in Bill Brandt: Selected Texts and Bibliography, ed. Nigel War-burton (Oxford, 1993), 30
9. Annette Kuhn, Family Secrets (London, 1995), 34. The original remark is about the film Mandy (1952)
10. Eley, "Finding the People's War," 833
11. Sonya Rose, Winch People's War? (Oxford, 2003), 25
12. Tom Hopkinson, "Bill Brandt Photographer," Lilliput (London) 10, no. 8 (August 1942): 141
13. See, e.g., Alan Trachtenberg, Reading American Photographs (New York, 1989)
14. James Guimond, American Photography and the American Dream (Chape Hill, NC, 1991)
15. Peter Hamilton, "Representing the Social: France and Frenchness in Post War Humanist Photography," in Representations: Cultural Representation and Signifying Practices, ed. Stuart Hall (London, 1999)
16. James Ryan, Picturing Empire: Photography and the Visualization of the British Empire (Chicago, 1997)
17. Terence Ranger, "Colonialism, Consciousness and the Camera," Past and Present, no. 171 (2001): 203-15
18. See John Pultz, The Body and the Lens: Photography 1839 to the Present (New York, 1995)
19. Graham Clarke, The Photograph (Oxford, 1997)
20. See Kenneth Clark, The Nude: A Study of Ideal Art (1956; Harmondsworth, 1985)
21. John Berger, Ways of Seeing (Harmondsworth, 1972), 45-64
22. See Emmanuel Cooper, Male Bodies: A Photographic History of the Nude (Munich, 2002)
23. Lynda Nead, "The Female Nude: Pornography, Art, and Sexuality," Signs: Journal of Women in Culture and Society 15, no. 2 (1990): 334, 326
24. Laura Mualvey, "Visual Pleasure and Narrative Cinema," in Visual and Other Pleasures (Bloomington, IN, 1989), 14-28
25. For Brandt's early life, see Paul Delany, Bill Brandt (Stanford, CA, 2004)
26. Ian Walker, "Phantom Africa: Photography between Surrealism and Ethnography," Cahiers d'Études Africaines 147, no. 28 (1997): 636, 651
27. On the tensions of documentary photography, see John Taylor, A Dream of England (Manchester, 1994), chap. 5
28. Charles Hayes, "Bill Brandt's Documentary Fiction," Artforum 24, no. 1 (September 1985): 112
29. Delany, Bill Brandt, 91
30. See also Richard Howells, "Self Portrait: The Sense of Self in British Documentary Photography," National Identities 4 (2002): 104-5
31. See Peter James and Richard Sadler, eds., Homes Fit for Heroes: Photography by Bill Brandt, 1939-43 (Stockport, 2004)
32. Bill Brandt, "Soho: Eight Bits of a Quarter," Lilliput 10, no. 4 (April 1942): 325, 330
33. See Brandt and Henry Moore pictures in Liltiput 10, no. 11 (November 1942): 473-80
34. "Bill Brandt - Photographer," Lilliput 10, no. 8 (August 1942): 130-10
35. Lilliput 10, no. 11 (November 1942): 480, 478
36. Lilliput, 8, no. 7 (July 1941): 62
37. Bill Brandt, "A Photographer's London," in Warburton, ed., Bill Brandt, 85, 91
38. Rupert Martin, "War Work," in Warburton, ed., Bill Brandt, 50
39. David Bate, Photography and Surrealism: Sexuality, Colonialism and Social Dissent (London, 2004), 199
40. "The Threat to the Great Roman Wall," Picture Post 21, no. 4 (23 October 1943): 12-15
41. see also Ian Jeffery, introduction to his Bill Brandt: Photographs, 1929-1983 (London, 1993), 30
42. Nigel Warburton, "Bill Brandt's Cathedral Interiors," History of Photography 17 (1993): 263-76
43. "Bath: What the Germans Mean By a 'Baedeker Raid,'" Picture Post, 4 July 1942
44. Lilliput, 10, no. 4 (April 1942): 326
45. See Antonia Lant, Blackout: Reinventing Women for Wartime British Cinema (Princeton, NJ, 1991)
46. Christine Gledhill and Gillian Swanson, eds., Nationalising Femininity (Manchester, 1996)
47. See Bill Brandt: Photographs, 1928-1983, 97
48. On Rose-Pulhain, see Val Williams, ed., Too Short a Summer: The Photographs of Peter Rose Pulham, 1910-1956 (York, 1979)
49. See, e.g., "Memories of Things Past," Lilliput 10, no. 1 (January 1942): 16
50. "She Sells Sea Shells ...," Lilliput 10, no. 5 (May 1942): 354
51. Quoted in the BBC television production, Masters (1983)
52. David Mellor, "Brandt's Phantasms," in Bill Brandt: Behind the Camera; Photographs; 1928-1983 (New York, 1985), 85
53. Pultz, The Body and the Lens, 67
54. Bate, Photography and Surrealism, 29
55. Rosalind Krauss, "Corpus Delicti," in Rosalind Krauss and Jane Livingstone, L'Amour Pou: Photography and Surrealism (Washington, DC, 1985), 95
56. Bertram Park and Yvonne Gregory, The Beauty of the Female Form (London, 1935), vii
57. See Judith Fryer Davidor, Women's Camera Work (Durham, NC, 1998) for a discussion of women's gaze in photography in the twentieth century
58. Carol Armstrong, "The Reflexive and Possessive View: Thoughts on Kertesz, Brandt and the Photographic Nude," Representations 25 (1989): 55, 68
59. On this point, see also Margaret Scundell, "Vanishing Points: The Photography of Francesca Woodman," in Inside the Visible, ed. M. Catherine de Zegher (Cambridge, MA, 1996)
60. John Berger, "Arts in Society: The Uses of Photography," New Society (London) 8, no. 211 (13 October 1966): 582-83
61. Bill Brandt, "Notes on Perspective of Nudes" (1961)
62. See Bill Brandt, Portraits: Photographs by Bill Brandt (London, 1982)
63. See David Matless, Landscape and Englishness (London, 1998)
64. See Rose, Which People's War? chap. 6
65. See Bill Brandt, Literary Britain (London, 1951)
66. Brandt, Portraits, 9
67. Krauss, "Corpus Delicti," 85
68. Amy Bell, "London Was Ours: Diaries and Memories of the London Blitz" (PhD thesis, Queen's University, Kingston, Canada, 2003), chap. 2, 36
69. Kuhn, Family Secrets, 23, 24
70. See, e.g., Elizabeth Cowie, "Film Noir and Women," in Shades of Noir, ed. Joan Copjec (London, 1993), 121-66
71. Frank Krutnik, In a Lonely Street; Film Now, Genre and Masculinity (London, 1991)
72. Marcia Landy, "Melodrama and Femininity in Second World War British Cinema," in The British Cinema Book, ed. Robert Murphy (London, 2001), 125
73. Eley, "Finding the People's War," 821
74. Sonya Rose, "Sex, Citizenship and the Nation in World War II Britain," American Historical Review 103 (1998), 1147-76
75. see also Rose, Which People's War? Lant, Blackout: Reinventing Women for Wartime British Cinema
76. Marilyn Lake, "Female Desires: The Meaning of World War 2," Australian Historical Studies 21, no. 95 (October 1990): 267-84
77. Gillian Swanson, "'So Much Money and So Little to Spend It On': Morale, Consumption and Sexuality," in Gledhill and Swanson, eds., Nationalising Femininity, 70-90
78. Becky Conekin, Frank Mort, and Chris Waters, eds., introduction to Moments of Modernity (London, 1999), 11
79. Elizabeth Bowen, The Heat of the Day (1949; Harmondsworth, 1961), 92
80. On this, see also Maud Ellman, Elizabeth Bowen: The Shadow across the Page (Edinburgh, 2003), 153
81. Elizabeth Bowen, "Postscript to The Demon Lover (1945)," in The Mulberry Tree, ed. Hermoine Lee (London, 1999), 95
82. Elizabeth Bowen, "London, 1940," in Lee, ed., The Mulberry Tree, 23
83. Bowen, "Postscript to The Demon Lover" 96
84. See also Jacqueline Rose, "Bizarre Objects: Mary Butts and Elizabeth Bowen," Critical Quarterly 42 (2000): 75-85
85. Rose, "Bizarre Objects," 78
86. Graham Greene, The Ministry of Fear (1943; Harmondsworth, 1963), 30, 67
87. Graham Greene, The End of the Affair (1951; Harmondsworth, 1975), 57
88. Henry Green, Caught (1943; London, 2001), 95-96
89. See Peter Stansky and William Abrahams, London's Burning (London, 1994)
90. for the postwar period, see essays in Jim Fyrth, ed., Labour's Promised Land: Culture and Society in Labour Britain, 1945-51 (London, 1995), pt. 3
91. Quoted in Frances Spalding, British Art since 1900 (London, 1986), 145