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Jun 7, 2020 13 tweets 6 min read Read on X
Today in pulp... I look back at the 1930s magazine that was a trailblazer for modern photo-led journalism: VU. #SundayThoughts Image
First published in Paris in 1928 VU was a magazine that put the photograph first. Over 3,000 photos were used in its first year of publication alone. Image
The timing was auspicious: the Leica 1 camera had been released in 1925 and the Rolleiflex would launch in 1929. High quality portable photography was making its breakthrough and VU magazine would pioneer it's journalistic use. ImageImage
Lucien Vogel had worked on a range of illustrated magazines before he founded VU in 1928. He also had an interest in Constructivism. VU would use this approach to pioneer the use of photo-essays as a way of understanding world events. Image
The range of photographers Vogel assembled for VU is breathtaking: Man Ray, Henri Cartier-Bresson, André Kertész and Gyula Halász (Brassaï) all produced work for the magazine at some point. Image
However VU would rise to fame for its political coverage. Special issues on Soviet Russia, Fascist Italy and Nazi Germany brought home the rise of dictatorships through photography. ImageImageImage
Double page photo spreads were use extensively by VU to construct a narrative of what was happening in in the world, reflecting Lucien Vogel's belief in constructionist composition to tell stories. Image
In particular VU brought home the events of the Spanish civil war to French readers. A number of issues were dedicated to the conflict. Image
Gerda Taro was one of the early women pioneers of #photojournalism, and her images published in VU magazine showed the real life struggles of the Republican army. Taro died in 1937 during the army's retreat from Brunete. Image
Taro's partner Robert Capa took one of the defining images of the Spanish civil war during the 1937 Battle of Brunete: "The Falling Soldier." VU magazine was the first outlet to publish it. Image
VU wasn't all politics however; it looked at how life was changing in the 1930s, from mass consumerism to mass unemployment. It's an invaluable record for historians. ImageImage
The last issue of VU was published on 29 May 1940. Two weeks later Paris was occupied by German troops. The magazine that had charted the rise of European dictatorships finally succumbed to one. Image
If you'd like to learn more about VU magazine and the birth of photojournalism MOMA has done a recent retrospective here: moma.org/interactives/o…

More stories another time... Image

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More from @PulpLibrarian

Apr 15
Over the years a number of people have asked me if I have a favourite pulp film. Well I do. It's this one.

This is the story of Alphaville...
Alphaville: une étrange aventure de Lemmy Caution (1965) was Jean-Luc Godard’s ninth feature film. A heady mix of spy noir, science fiction and the Nouvelle Vague at its heart is a poetic conflict between a hard-boiled secret agent and a supercomputer’s brave new world. Image
British writer Peter Cheyney had created the fictitious American investigator Lemmy Caution in 1936. As well as appearing in 10 novels Caution featured in over a dozen post-war French films, mostly played by singer Eddie Constantine whom Godard was keen to work with. Image
Read 21 tweets
Apr 10
Al Hartley may have been famous for his work on Archie Comics, but in the 1970s he was drawn to a very different scene: God.

Today in pulp I look back at Hartley's work for Spire Christian Comics - a publisher that set out to spread the groovy gospel... Image
Spire Christian Comics was an offshoot of Spire Books, a mass-market religious paperback line launched in 1963 by the Fleming H. Revell company. The point of Spire Books was to get religious novels into secular stores, so a move into comic books in 1972 seemed a logical choice. Image
The idea was to create comic book versions of popular Spire Books like The Cross and the Switchblade; David Wilkinson's autobiographical tale of being a pastor in 1960s New York. It had already been turned into a film, but who could make it into a comic? Image
Read 14 tweets
Apr 4
Given the state of the stock market I thought I'd share my pulp guide to money. What is it? Where does it come from? And does it make us happy?

Let's take a look...
Money is just a token, like a football sticker. In itself it has no intrinsic worth. However it is desirable because, well, football!

Initially the value of all stickers is the same, because there's an abundant supply... Image
However as you fill up your sticker album the value of your existing stickers drops and the value of your missing ones rises.

This is due to scarcity: the law of supply and demand starts to determine worth and value, rather than which team you support. Image
Read 19 tweets
Apr 3
It was a phenomenon, spawning a franchise that has lasted over fifty years. It's also a story with many surprising influences.

Today in pulp I look back at a sociological science-fiction classic, released today in 1968: Planet Of The Apes! Image
Pierre Boulle is probably best known for his 1952 novel Bridge On The River Kwai, based on his wartime experiences in Indochina. So it was possibly a surprise when 11 years later he authored a science fiction novel. Image
However Boulle had been a Free French secret agent during the war. He was captured in 1943 by Vichy forces in Vietnam and sentenced to hard labour. This experience of capture would shape his novel La Planète Des Singes. Image
Read 18 tweets
Mar 25
Today I'm looking back at the work of British graphic designer Abram Games! Image
Abram Games was born in Whitechapel, London in 1914. His father, Joseph, was a photographer who taught him the art of colouring by airbrush. Image
Games attended Hackney Downs School before dropping out of Saint Martin’s School of Art after two terms. His design skills were mainly self-taught by working as his father’s assistant. Image
Read 13 tweets
Mar 23
Today I'm looking back at the career of English painter, book illustrator and war artist Edward Ardizzone! Image
Edward Ardizzone was born in Vietnam in 1900 to Anglo-French parents. Aged 5 he moved to England, settling in Suffolk. Image
Whilst working as an office clerk in London Ardizzone began to take lessons at the Westminster School of Art in his spare time. In 1926 he gave up his office job to concentrate on becoming a professional artist. Image
Read 14 tweets

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