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Che's Afterlife: The Legacy of an Image |
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Che's Afterlife: The Legacy of an Image |
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基本信息·出版社：Vintage
·页码：400 页
·出版日期：2009年04月
·ISBN：0307279308
·International Standard Book Number：0307279308
·条形码：9780307279309
·EAN：9780307279309
·装帧：平装
·正文语种：英语
·丛书名：Vintage Original
内容简介 In 1960, Cuban photographer Alberto Korda captured fabled revolutionary Ernesto “Che” Guevara in what has become history's most reproduced photo. Now Michael Casey tells the remarkable story of this image, detailing its evolution from a casual snapshot to an omnipresent graphic—plastered on everything from T-shirts to vodka to condoms—and into a copyrighted brand. As Casey follows it across the Americas and through cyberspace, he finds governments exploiting it and their dissenters attacking it, merchants selling it and tourists buying it. We see how this image is, ultimately, a mercurial icon that still ignites passion—and a reflection of how we view ourselves.
作者简介 Michael Casey is the Buenos Aires bureau chief for Dow Jones Newswires and a frequent correspondent for The Wall Street Journal. A native of Perth, Western Australia, he has worked in numerous other countries as a journalist, including Thailand, Indonesia and the U.S. He is a graduate of the University of Western Australia and has an MA from Cornell University. He is married with two children.
编辑推荐 “Fascinating. . . . Bracing and keenly observed. . . . Not only a cultural history of an image, but also a sociopolitical study of the mechanisms of fame.”
–Michiko Kakutani,
The New York Times
“One of the first books on a rarely discussed aspect of Guevara–his branding and why it has endured for more than four decades. . . .
Che’s Afterlife provides a detailed account of the ‘product launch’ of the Guevara brand, with Cuba’s Fidel Castro serving as ‘brand manager.’ In doing so, it offers lessons for Obama on how to rebrand the United States in Latin America.”
–
The Miami Herald
“There are those who only know Fidel Castro’s comrade in arms as a commercial image festooned on fashion, bottles of booze, air fresheners and even condoms. Journalist Casey unlocks the iconic image taken by Cuban lenseman Alberto Korda in what Casey calls ‘a frozen millisecond’ in 1960 Havana.”
–
New York Post
“Enthralling. . . . About as timely as a book gets. . . . Casey takes off on a quest to find the heart of the definition-of-seminal Che Guevara image. What he comes away with is a fascinating tale of the photographer, the history of the print itself and a global account of the countless places and people that exact image has touched.”
–
Weekly Dig (Boston)
“
Che’s Afterlife is worth the read for its historical clarity, Casey’s vivid storytelling, and his adroit analysis of the multilayered meaning of photography as both a vehicle for and a destroyer of ideals.”
–DigitalCity.com (America Online blog)
“In this entertaining and provocative book, Michael Casey takes us into the realm where Che’s martyrdom ends and his global branding begins.
Che’s Afterlife is also a smart and sassy comment about our life and times; well worth the read.”
–Jon Lee Anderson, author of
Che Guevara: A Revolutionary Life“The definitive account of the birth and dissemination of an iconic image. . . . A riveting tale of art and ambition, of rebellion and merchandising. . . . Illuminating and essential reading.”
–Héctor Tobar, author of
Translation Nation
“Lively and informative. . . . Smartly chronicles the explosive Guevara growth industry in the marketplace of ideas and icons.”
–Tom Miller, author of
Trading With the Enemy
“Eagle-eyed. . . . Insightful. . . . An evocative and well-written account of All Things Che.”
–Ann Louise Bardach, author of
Cuba Confidential and
Without Fidel
“A tour de force of pop cultural entertainment and analysis.”
–Professor David D. Perlmutter, author of
Blog Wars“[A] notable history of how the Che Guevara brand was “produced”. . . . Innovative.”
–Jorge Castañeda, author of
Compañero: The Life and Death of Che Guevara 专业书评 From Publishers Weekly
Casey, Buenos Aires bureau chief for Dow Jones Newswires, tap dances across history and the globe to examine intellectual property and iconography through the lens of the famous image of Che Guevara captured by fashion photographer Alberto Korda. Some say that only the famous photograph of Marilyn Monroe, her skirt rising as she stands over a subway grate, has been more reproduced, writes Casey. The author does not neglect the relevant biographical details or history, but his focus is Che as a brand. He wants to understand why the Korda image remains so compelling to such a wide variety of people and how it continues to represent so many different (and differing) causes; he suggests that the power of Che, the brand, is in its ability to be anything to anyone. The book can feel like a disorderly amalgam of travelogue, visual criticism, biography and reportage—fragments befitting a study of globalized culture. Readers interested in the impact of visual culture or in better understanding the elusiveness of intellectual property rights, particularly in a global marketplace, will find much food for thought.
(May) Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
文摘 CHAPTER ONE
HAVANA, MARCH 5, 1960 A Frozen Millisecond Sometimes I get to places just when God's ready to have somebodyclick the shutter.
—Ansel Adams, photographer
Early on march 4, 1960, two massive explosions ripped through the French freighter La Coubre while it was docked in Havana's harbor with a load of Belgian weapons in its cargo hold. At least seventy-six people died, and several hundred more were injured. Cuban leader Fidel Castro immediately accused the U.S. Central Intelligence Agency of sabotage. (The exact cause remains a mystery, but Cuba maintains to this day that it was an act of terrorism.) Parallels were drawn to an explosion decades earlier whose cause was never proven, one that also sunk a foreign ship berthed in Havana: the USS Maine. The events triggered by that 1898 blast led Theodore Roosevelt to declare war on Cuba's Spanish rulers. Now, sixty-two years later, many feared the tragedy of La Coubre would have a similar catalytic effect.
Castro staged a state funeral the following day, an event that attracted a massive throng of mourners. There he tapped his countrymen's nationalist sentiments. "Patria o muerte! Venceremos!" Castro bellowed. My homeland or death! We will win! This rousing call to arms would become one of the Cuban revolution's most enduring slogans. On March 5, 1960, it set the tone for an escalation in conflict with the United States.
The day of the funeral was unseasonably cold, even to the point of being chilly, and the sky was overcast. Yet for one group of Cubans whose presence mattered a lot to the image-conscious Castro, the conditions were fortuitous. The self-described "Epic Revolutionary" photographers, a recent addition to the leader's growing entourage, would find that the gray conditions lent the event an evocative, funereal light.
Among them was Alberto Díaz Gutiérre
……
