![\"vintage-prohibition-photos-united-states-boston-18\"](\"https:\/\/i0.wp.com\/pages.charlotte.edu\/visualrhetoric\/wp-content\/uploads\/sites\/651\/2014\/02\/vintage-prohibition-photos-united-states-boston-18.jpg?resize=300%2C238\")
<\/a>Police raids the 153 Causeway St. speakeasy in Boston<\/p><\/div>\n
Recent major budget films, such as the adaptation of Fitzgerald\u2019s The Great Gatsby (2013), are indicative of America\u2019s renewed love affair with the age of depressed excess. From 1920 to 1933, the American government passed a nationwide ban that prohibited the sale, production, importation, and transportation of alcoholic drinks. Many local areas and some states completely banned the possession of alcohol even though the private consumption or ownership of alcohol wasn\u2019t illegal under federal law.\u00a0 Leslie Jones (1886 \u2013 1967) was a photographer whose photos documented the usual as well as the unusual life in Boston during prohibition; he used glass negatives when shooting photos of the 153 Causeway St. speakeasy in Boston. Because of the different levels of acceptance of prohibition, the images represent to the Federal government a legal act, but to the citizens of Boston, the photos are evidence of an act of tyranny by an overreaching government; whatever camera he used, Leslie Jones captured more than just a typical speakeasy bust.<\/p>\n","protected":false},"excerpt":{"rendered":"
Group one summary. Group two summary. Larry Burrows:\u00a0\u00a0Zack Allen & C. Justin Hall The war in Vietnam was a conflict of great media scrutiny. Photographer Larry Burrows presents visual rhetoric in a raw, uncensored form to reveal actualities of this seemingly ambiguous conflict. His strong, bold photo journals intrigue the reader and present\u00a0truths\u00a0that\u00a0demand attention and […]<\/p>\n","protected":false},"author":203,"featured_media":813,"parent":7,"menu_order":0,"comment_status":"closed","ping_status":"open","template":"","meta":{"footnotes":""},"coauthors":[5],"class_list":["post-40","page","type-page","status-publish","has-post-thumbnail","hentry"],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/pages.charlotte.edu\/visualrhetoric\/wp-json\/wp\/v2\/pages\/40","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pages.charlotte.edu\/visualrhetoric\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/pages.charlotte.edu\/visualrhetoric\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/pages.charlotte.edu\/visualrhetoric\/wp-json\/wp\/v2\/users\/203"}],"replies":[{"embeddable":true,"href":"https:\/\/pages.charlotte.edu\/visualrhetoric\/wp-json\/wp\/v2\/comments?post=40"}],"version-history":[{"count":16,"href":"https:\/\/pages.charlotte.edu\/visualrhetoric\/wp-json\/wp\/v2\/pages\/40\/revisions"}],"predecessor-version":[{"id":1005,"href":"https:\/\/pages.charlotte.edu\/visualrhetoric\/wp-json\/wp\/v2\/pages\/40\/revisions\/1005"}],"up":[{"embeddable":true,"href":"https:\/\/pages.charlotte.edu\/visualrhetoric\/wp-json\/wp\/v2\/pages\/7"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/pages.charlotte.edu\/visualrhetoric\/wp-json\/wp\/v2\/media\/813"}],"wp:attachment":[{"href":"https:\/\/pages.charlotte.edu\/visualrhetoric\/wp-json\/wp\/v2\/media?parent=40"}],"wp:term":[{"taxonomy":"author","embeddable":true,"href":"https:\/\/pages.charlotte.edu\/visualrhetoric\/wp-json\/wp\/v2\/coauthors?post=40"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
![\"article-2096328-119504B4000005DC-267_964x981\"](\"https:\/\/i0.wp.com\/pages.charlotte.edu\/visualrhetoric\/wp-content\/uploads\/sites\/651\/2014\/02\/article-2096328-119504B4000005DC-267_964x981.png?resize=294%2C300\")
The war in Vietnam was a conflict of great media scrutiny. Photographer Larry Burrows presents visual rhetoric in a raw, uncensored form to reveal actualities of this seemingly ambiguous conflict. His strong, bold photo journals intrigue the reader and present\u00a0truths\u00a0that\u00a0demand attention and consideration. One photo from this iconic photojournalist mayrepresent heroism and epitomize patriotic duty while another may demonstrate misery, depression, and failure. Burrows\u2019 intended to inform. His unbiased photos and narrative journals would be interpreted by media to portray the desired message. Rhetoric is ubiquitous. No matter the style or purpose the author, emotion is elicited and we are persuaded in some conscious or subconscious manner.<\/p>\n