Overview

In Rhetorical Exposures, Christopher Carter explores social documentary photography from the nineteenth century to the present to illuminate the political dimensions of photographs that highlight social injustice. Documentary photography aims to capture the material reality of life. In Rhetorical Exposures, Christopher Carter demonstrates how the creation and display of documentary photographs—often now called “imagetexts”—both invite analysis and raise persistent questions about the political and social causes for the bleak scenes of poverty and distress captured on film. Carter’s carefully reasoned monograph examines both formal quali­ties of composition and the historical contexts of the production and display of documentary photographs. In Rhetorical Exposures, Carter explores Jacob Riis’s heart-rending photos of Manhattan’s poor in late nineteenth-century New York, the iconic images of tenant farmers in west Alabama from James Agee and Walker Evans’s Let Us Now Praise Famous Men, Ted Streshinsky’s images of 1960s social movements, Camilo José Vergara’s photographic landscapes of urban dereliction in the 1970s, and Chandra McCormick’s portraits of New Orleans’s Ninth Ward scarred by Hurricane Katrina. While not ascribing specifically political or Marxist intentions to the photographers discussed, Carter frames his arguments in a class-based dialectic that addresses material want as an ineluctable result of social inequality. He argues that social documentary photos have the powerful capacity to prompt viewers to confront injustice. Though photography may induce socially disruptive experiences, it remains vulnerable to the same power dynamics it subverts. Therefore, Carter offers a “rhetoric of exposure” that outlines how such social documentary images can be treated as highly tensioned rhetorical objects. His framework enables the analysis of photographs as heterogeneous records of the interaction of social classes and expressions of specific built environments. Rhetorical Exposures also discusses how photographs interact with oral and print media and relate to public memorials, murals, and graphic novels. As the creation and dissemination of new media continues to evolve in an environment of increasing anxiety about growing financial inequality, Rhetorical Exposures offers a very apt and timely discussion of the ways social documentary photography is created, employed, and understood.

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9780817318628

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Reviews

Carter positions his 'rhetoric of exposure' in current critical and theoretical discussions, and yet admirably never loses sight of its grounding in the actual photographs and struggles of the photographers. This convincing and informative work maintains a critical edge without condescending to the photographers as conscientious agents. --Thomas W. Benson, author of Writing JFK: Presidential Rhetoric and the Press in the Bay of Pigs Crisis and Posters for Peace: Visual Rhetoric and Civic Action and series editor of the University of South Carolina Press's Rhetoric and Communication series

Author Information

Christopher Carter is an associate professor of English at the Univer­sity of Cincinnati, USA, where he also serves as composition director of the department. He is the author of Rhetoric and Resistance in the Corporate Academy and a past editor of Workplace: A Journal for Academic Labor. His essays have appeared in College English, JAC, Rhetoric Review, and Works and Days.

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