{"version":"1.0","provider_name":"ZUM","provider_url":"https:\/\/revistazum.com.br\/en\/","author_name":"Revista ZUM","author_url":"https:\/\/revistazum.com.br\/en\/author\/carlos-franco\/","title":"Killed negatives - ZUM","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"HF9wPTqsOH\"><a href=\"https:\/\/revistazum.com.br\/en\/revista-zum-16-2\/killed-negatives\/\">Killed negatives<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/revistazum.com.br\/en\/revista-zum-16-2\/killed-negatives\/embed\/#?secret=HF9wPTqsOH\" width=\"600\" height=\"338\" title=\"&#8220;Killed negatives&#8221; &#8212; ZUM\" data-secret=\"HF9wPTqsOH\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script type=\"text\/javascript\">\n\/* <![CDATA[ *\/\n\/*! This file is auto-generated *\/\n!function(d,l){\"use strict\";l.querySelector&&d.addEventListener&&\"undefined\"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!\/[^a-zA-Z0-9]\/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),o=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),c=new RegExp(\"^https?:$\",\"i\"),i=0;i<o.length;i++)o[i].style.display=\"none\";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute(\"style\"),\"height\"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):\"link\"===t.message&&(r=new URL(s.getAttribute(\"src\")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener(\"message\",d.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",function(){for(var e,t,s=l.querySelectorAll(\"iframe.wp-embedded-content\"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute(\"data-secret\"))||(t=Math.random().toString(36).substring(2,12),e.src+=\"#?secret=\"+t,e.setAttribute(\"data-secret\",t)),e.contentWindow.postMessage({message:\"ready\",secret:t},\"*\")},!1)))}(window,document);\n\/\/# sourceURL=https:\/\/revistazum.com.br\/wp-includes\/js\/wp-embed.min.js\n\/* ]]> *\/\n<\/script>\n","thumbnail_url":"https:\/\/revistazum.com.br\/wp-content\/uploads\/2019\/06\/18.jpg","thumbnail_width":1200,"thumbnail_height":851,"description":"When thinking of American documentary photography of the 1930s, images such as Dorothea Lange\u2019s Migrant Mother (1936) or Walker Evans\u2019s portrait of Allie Mae Burroughs titled Alabama Tenant Farmer Wife (1936) immediately come to mind. Symbols of the migrant workers\u2019 struggle during the Great Depression in America, the two works represent a crucial moment for [&hellip;]"}