Thy Phu is Professor of Media Studies at the University of Toronto, Scarborough, and author of Warring Visions: Photography and Vietnam, also published by Duke University Press.Erina Duganne is Professor of Art History at Texas State University and author of The Self in Black and White: Race and Subjectivity in Postwar American Photography.Andrea Noble (1968–2017) was Professor of Latin American Studies at Durham University and author of Mexican National Cinema.

• List of Illustrations  ixAcknowledgments  xvCold War Camera: An Introduction / Thy Phu, Andrea Noble, and Erina Duganne  1Visual Alliances1. Ernest Cole's House of Bondage, the United States Information Agency, and the Cultural Politics of the World War / Darren Newbury  332. Icon of Solidarity: The Revolutionary Vietnamese Woman in Vietnam, Palestine, and Iran / Thy Phu, Evyn LÊ Espiritu Gandi, and Donya Ziaee  673. Group Material's "Art for the Future": Visualizing Transnational Solidarity at the End of the Global Cold War / Erina Duganne  1134. Interrogating the Cold War's Geo-Politics from Down South: Chile from Within (1990) and the Construction of a Situated Visuality / Ángeles Donoso Macaya  1435. Decolonization and Nonalignment: African Futures, Lost and Found / Jennifer Bajorek  167Photo Essays6. Bifurcated and Parallel Histories / Tong Lam  1957. Preservation of Terror / Eric Gottesman  203Structures of Seeing8. Ending World War II: The Visual Literacy Class in Cold War Human Rights / Ariella AÏsha Azoulay  2139. “Planted There Like Human Flags”: Photographs of the High Arctic and Cold War Anxiety, 1951–1956 / Sarah Parsons  23910. Urban Albums, Village Forms: Chinese Family Photographs and the Cold War / Laura Wexler, Karintha Lowe, and Guigui Yao  26311. Travel, Space, and Belonging in Soviet Domestic Photo Collections of the Cold War Era / Oksana Sarkosova and Olga Shevchenko  29312. Exhibiting Ethnic Minorities, Democratizing History: Cold War Legacies and the Jews in Poland's Visible Sphere / Gil Pasternak and Marta Ziętkiewicz  327Bibliography  359Contributors  389Index  395

"Cold War Camera takes readers from South Africa to Ethiopia, Vietnam to Palestine and Iran, from Chile to China, the Arctic Circle, and beyond. Its reach is sweeping, revealing a world entirely, if differentially, impacted as its most powerful quarreled to suture their place at the top. Just as it sheds light on this rich and storied past, Cold War Camera illuminates the present, proving that the tension and violence associated with the 'official' Cold War-era never ceased but only took on different forms." - Liz Hallgren (International Journal of Communication) "Cold War Camera more than makes the case for photography’s significance as a site of Cold War contestation and modality for reckoning with its violences, including at the most intimate of scales. . . . It is in the contributions of the book as a collective endeavor, exemplified by the collaboratively written introduction and essays, that the promises of a critically global approach to Cold War structures of seeing emerge most powerfully, as vital for tracing the operations and ramifications of a set of knowledge projects premised, at least in part, on their obfuscation." - Nadine Attewell (The Communication Review) "Cold War Camera brings together some exceptional photography writers in a collection exploring an astonishing range of source images. . . ." - Georgia Vesma (History of Photography) "In its breadth and coverage of the politics of photography in the twentieth century, Cold War Camera is unmatched. . . . [it] represents a new generation of the historiography and critique of political photography." - Delinda Collier (Art Bulletin)