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Budapest: Akademiai Kiado; Europa lelo yeladim Hb, lit. The girl, which a biographer of Miller appropriately described as "part L'Inconnue de la Seine and part discarded female anatomical model" [9] , resembles in the way Miller photographed her strikingly the famous statue St. Theresa in Ecstasy. Highly stylised pictures like this were a speciality of Miller, who avoided shooting heroic pictures, which were only meant to display the alleged glory of war and would have been used for propagandistic reasons the only exception being her work in Britain.

This is especially worth mentioning as her target group were mostly female civilians, who were not directly exposed to the hardship of war. No doubt this picture had a strong influence on them. Zox-Weaver thinks that. The startling nature of the images, their absolute incongruity in the pages of a fashion magazine, and the obvious risk of offending the bourgeois viewership converges as a complex commingling of death and consumerism, elegance and evil. The readership was probably more familiar with the surroundings in one of the most famous photos of her, which shows her sitting nude in Hitler's bathtub in his Munich apartment.

But appearances are deceitful. The subliminal content of the picture makes it eerie and multilayered at the same time. On the one hand, we see the beautiful nude Miller brushing herself in an orderly clean bathroom, with a classical nude statue standing on the table beside the bathtub.

Sim says that such images are as important as the ones of the atrocities of war, as they do not force the beholder to look away involuntarily and "therefore pass over the underlying meaning or history of the image. But not even Miller could escape the morbid fascination and bizarre beauty of warfare. This is illustrated by her photograph of the bombardment of German-occupied St. Malo, where Lee witnessed the first use of Napalm.

Medical Ethics in the 70 Years after the Nuremberg Code, to the Present | SpringerLink

Taken from inside of her hotel room, the walls serve like a frame for the picture, much like the early paintings of Matisse and Picasso used to look like. The view through the window onto the subject of the picture channels the view of the beholder, but still makes aware of his safe standpoint.

Calvocoressi is also of the opinion that Millers photography was more artistic than documentary. Arguing with a statement in which she announces that she always "wanted to be an artist", he writes, that "in terms of composition, lighting and choice of subject, her photographs powerfully suggest someone who looked and thought instinctively as a painter" [17].

Her friendship with surrealists "gave her a sharp eye for the telling but overlooked detail, odd pairings or combinations of unrelated objects, and dramatic or quirky viewpoints". An important point that has to be taken into consideration is the fact that Miller was a female war correspondent. Her photograph Revenge on Culture is typical for the way she pictured the war. She did not focus on dead bodies or raging battles but instead showed the impact of warfare on individuals and on society.

One reason for this distinction might have been that she was aware that the intensity of the atrocities cast upon the British would have appalled her readership. She addresses the latter directly in Grim Glory , writing that "the pictures are selected with great discrimination. I would have shown you the open graves of Coventry - broken bodies with brown dust looking like rag dolls cast away by some petulant child, being lifted in tender hands from the basements of homes. At the same time, this ambiguity reflects the influence her own character had on her photos.

Miller was far from being neutral. She hated the Germans for bringing so much destruction to her loved Paris, and was altered by all the atrocities she had seen during the course of war. One of her photos, which shows a dead German soldier, is underwritten by her: "This is a good German, he is dead. Artery forceps hang from his shattered wrists" [21]. Her special role as a women photographer was analysed by Miller herself: "Women are quicker and more adaptable than men.

And I think they have an intuition that helps them understand personalities more quickly than men Maybe this intuition helped her to develop an eye for stories that other correspondents would have deemed not worth reporting about. She was also more focused on photographing women and thus highlighting the role they played in the war than the average male war correspondent. Get it by Tuesday, Jul 9. Kindle Edition. Free with Kindle Unlimited membership. Der Wanderer zwischen beiden Welten. Audible Audiobooks.

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