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Moving Images: Photography and the Japanese American Incarceration
 
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Moving Images: Photography and the Japanese American Incarceration [Hardcover]

Jasmine Alinder

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 “Alinder’s 50-year perspective yields one of the most balanced and informative books on documentary photographs in general and the internment of Japanese Americans in particular. This is a gem of a book. Essential.”-- Choice

"A beautiful and worthwhile read."--The Journal of American History



 

"A smart and highly interpretive study."--Nichi Bei Weekly

"Alinder handles her material skillfully, and in concise and readable style.  Her judgments show an incisive mind, and one that resists oversimplification."--American Journalism



 "An excellent history of the incarceration . . . this is valuable for anyone interested in Japanese-American history."--Multicultural Review

"Contributes significantly to making the World War II incarceration of Japanese Americans a part of public memory. . . . A book that gracefully navigates the space between academic and public discourse."--American Studies

 

Product Description

When the American government began impounding Japanese American citizens after Pearl Harbor, photography became a battleground. The control of the means of representation affected nearly every aspect of the incarceration, from the mug shots criminalizing Japanese Americans to the prohibition of cameras in the hands of inmates. The government also hired photographers to make an extensive record of the forced removal and incarceration. In this insightful study, Jasmine Alinder explores the photographic record of the imprisonment in war relocation centers such as Manzanar, Tule Lake, Jerome, and others. She investigates why photographs were made, how they were meant to function, and how they have been reproduced and interpreted subsequently by the popular press and museums in constructing versions of public history.

Alinder provides calibrated readings of the photographs from this period, including works by Dorothea Lange, Ansel Adams, Manzanar camp inmate Toyo Miyatake (who constructed his own camera to document the complicated realities of camp life), and contemporary artists Patrick Nagatani and Masumi Hayashi. Illustrated with more than forty photographs, Moving Images reveals the significance of the camera in the process of incarceration as well as the construction of race, citizenship, and patriotism in this complex historical moment.


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Amazon.com: 4.0 out of 5 stars (2 customer reviews)

3 of 3 people found the following review helpful
5.0 out of 5 stars Fantastic!!!, May 29 2009
By Diana Linden - Published on Amazon.com
This review is from: Moving Images: Photography and the Japanese American Incarceration (Hardcover)
Alinder's book will appeal to those interested in Asian-American history, American history, California history, and most especially, those folks interested in photography. The book is well written, smart and provocative. While I'm familiar with many of the photographs and the history of the Japanese-American Internment, thanks to Alinder's book I know so much more and see so much more in the photographs. Great work.

2 of 3 people found the following review helpful
3.0 out of 5 stars The politics of documentary photography discussed in the context of the WWII incarceration of Japanese-Americans, Dec 9 2011
By R. M. Peterson - Published on Amazon.com
Amazon Verified Purchase(What's this?)
This review is from: Moving Images: Photography and the Japanese American Incarceration (Paperback)
There are two aspects to MOVING IMAGES. On the more general level, it is a book about different ways photography can be used to advance political agendas. Second, the book explores this topic through photographic documentation of the incarceration of Japanese-Americans during World War II. I found the second aspect much more interesting than the first.

On February 19, 1942, Franklin Roosevelt signed Executive Order 9066, which authorized U.S. military commanders to designate areas of the United States "from which any or all persons may be excluded." Though not specifically directed at people of Japanese descent, the Order was applied primarily to Japanese-Americans. About 110,000 ethnic Japanese people were sent to internment camps for most of the rest of the War -- even those who were U.S. citizens, even the families of Japanese-American servicemen in the U.S. military, and even veterans of the U.S. armed forces (including one seventy-year-old man who had enlisted in the U.S. Navy during the Spanish-American War and received disabling wounds and who was, in early 1942, living as an invalid in a sanitarium in Los Angeles). Executive Order 9066 remains an indelible stain on the generally liberal and enlightened legacy of FDR, and the broad-gauge internment of Japanese-Americans ranks as the worst instance in the 20th-Century of organized racism perpetrated as a matter of official federal government policy within this country. It was an abominable disgrace.

The internment enterprise was administered by the War Relocation Authority. The WRA engaged a number of photographers, including Dorothea Lange, to document the "relocation" of Japanese-Americans. The WRA wanted the enterprise depicted as essentially a humanitarian endeavor, with the "relocated" Japanese-Americans depicted as compliant and non-threatening - good Americans of the future, even. Lange, however, could not help but take photographs that communicated "the pathos and injustice of the incarceration." Chapter One of MOVING IMAGES explores the tensions between the non-congruent missions of the WRA and Lange. Chapters Two and Three deal with the photographs of the camp at Manzanar, California by two different photographers - one, Ansel Adams, an outsider; and the other, Toyo Miyatake, an inmate. A fourth chapter deals with several museum exhibitions of the Japanese-American incarceration, and the last chapter with recent photographic projects of the now-desolate camp sites undertaken by two Nisei whose parents had been inmates.

The book contains about forty photographs of the Japanese-American incarceration. I would have liked to have seen more, but that's because I am more interested in the incarceration as a matter of history than I am in an academic discussion of what I will call the semiotics of photography. And MOVING IMAGES is much more concerned with the latter subject. The book also is a product of the academy (author Jasmine Alinder is an associate professor of history). While I didn't find it nearly as pretentious and/or wooden as many books of the academy, it is prone to over-analysis and it does contain a fair share of ivory tower buzz words such as "hegemonic", "dialogic", "concretize", "iconicity", and "indexicality". I believe that Alinder reads too much into some of the photographs and I disagree with some of her interpretations or judgments, too many of which to my mind tend to be shibboleths.

Nonetheless, I am glad that I stumbled across the book and read it. It has stimulated a desire to learn more about Executive Order 9066 and the Japanese-American incarceration.
 Go to Amazon.com to see both reviews  4.0 out of 5 stars 

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