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Contested Images: Women of Color in Popular Culture is a collection of 17 essays that analyze representations in popular culture of African American, Asian American, Latina, and Native American women. The anthology is divided into four parts: film images, beauty images, music, and television. The articles share two intellectual traditions: the authors, predominantly women of color, use an intersectionality perspective in their analysis of popular culture and the representation of women of color, and they identify popular culture as a site of conflict and contestation. Instructors will find this collection to be a convenient textbook for women’s studies; media studies; race, class, and gender courses; ethnic studies; and more.
Jane M. Gaines examines the phenomenon of images as property, focusing on the legal staus of mechanically produced visual and audio images from popular culture. Bridging the fields of critical legal studies and cultural studies, she analyzes copyright, trademark, and intellectual property law, asking how the law constructs works of authorship and who owns the country's cultural heritage.
Contested Terrain provides a cutting-edge, comprehensive and innovative approach to critically analysing the multidimensional and contested nature of security narratives, justified by different ideological, political, cultural and economic rationales. This is important in a complex and ever-changing situation involving a dynamic interplay between local, regional and global factors. Security narratives are constructed in multiple ways and are used to frame our responses to the challenges and threats to our sense of safety, wellbeing, identity and survival but how the narratives are constructed is a matter of intellectual and political contestation. Using three case studies from the Pacific (Fiji, Tonga and Solomon Islands), Contested Terrain shows the different security challenges facing each country, which result from their unique historical, political and socio-cultural circumstances. Contrary to the view that the Pacific is a generic entity with common security issues, this book argues for more localised and nuanced approaches to security framing and analysis.
The first in-depth study of the history of copyright protecting the visual arts, uncovering long-forgotten narratives of copyright history and reflecting on how those sharpen the critical lens through which we view copyright today. It will appeal to copyright lawyers, scholars and policy-makers, as well as to art historians and curators.
Although contemporary art may sometimes shock us, more alarming are recent attempts to regulate its display. Drawing upon extensive interviews, a broad sampling of media accounts, legal documents and his own observations of important events, sociologist Steven Dubin surveys the recent trend in censorship of the visual arts, photography and film, as well as artistic upstarts such as video and performance art. He examines the dual meaning of arresting images--both the nature of art work which disarms its viewers and the social reaction to it. Arresting Images examines the battles which erupt when artists address such controversial issues as racial polarization, AIDS, gay-bashing and sexual inequality in their work.
List of Illustrations Preface Introduction: Sites of Desire/Economies of Pleasure in Asia and the PacificLenore Manderson, Margaret Jolly. Ch. 1: Educating Desire in Colonial Southeast Asia: Foucault, Freud and Imperial Sexualities Ann Staler Ch. 2: Contested Images and Common Strategies: Early Colonial Sexual Politics in the Massim Adam Reed Ch. 3: Gaze and Grasp: Plantations, Desires, Indentured Indians, and Colonial Law in Fiji John D. Kelly Ch. 4: From Point Venus to Bali Ha'i: Eroticism and Exoticism in Representations of the Pacific Margaret Jolly Ch. 5: Parables of Imperialism and Fantasies of the Exotic: Western Representations and Thailand - Place and Sex Lenore Manderson Ch. 6: Primal Dream: Masculinism, Sin and Salvation in Thailand's Sex Trade Annette Hamilton Ch. 7: Kathoey > Copyright © Libri GmbH. All rights reserved.
A new conceptualization of the relationship between the systemic and the iconic in real-time simulations that distinguishes among four levels of forming. Computer simulations conceive objects and situations dynamically, in their changes and progressions. In The Systemic Image, Inge Hinterwaldner considers not only the technical components of dynamic computer simulations but also the sensory aspects of the realization. Examining the optic, the acoustic, the tactile, and the sensorimotor impressions that interactive real-time simulations provide, she finds that iconicity plays a dominant yet unexpected role. Based on this, and close readings of a series of example works, Hinterwaldner offers a new conceptualization of the relationship between systemic configuration and the iconic aspects in these calculated complexes. Hinterwaldner discusses specifications of sensorialization, necessary to make the simulation dynamic perceivable. Interweaving iconicity with simulation, she explores the expressive possibilities that can be achieved under the condition of continuously calculated explicit changes. She distinguishes among four levels of forming: the systems perspective, as a process and schema that establishes the most general framework of simulations; the mathematical model, which marks off the boundaries of the simulation's actualization; the iconization and its orientation toward the user; and interaction design, necessary for the full unfolding of the simulation. The user makes manifest what is initially latent. Viewing the simulation as an interface, Hinterwaldner argues that not only does the sensorially designed aspect of the simulation seduce the user but the user also makes an impact on the simulation—on the dynamic and perhaps on the iconization, although not on the perspectivation. The influence is reciprocal.
Throughout its early history, photography's authenticity was contested and challenged: how true a representation of reality can a photograph provide? Does the reproduction of a photograph affect its value as authentic or not? From a Photograph examines these questions in the light of the early scientific periodical press, exploring how the perceived veracity of a photograph, its use as scientific evidence and the technologies developed for printing it were intimately connected.Before photomechanical printing processes became widely used in the 1890s, scientific periodicals were unable to reproduce photographs and instead included these photographic images as engravings, with the label ‘from a photograph’. Consequently, every image was mediated by a human interlocutor, introducing the potential for error and misinterpretation. Rather than ‘reading’ photographs in the context of where or how they were taken, this book emphasises the importance of understanding how photographs are reproduced. It explores and compares the value of photography as authentic proof in both popular and scientific publications during this period of significant technological developments and a growing readership. Three case studies investigate different uses of photography in print: using pigeons to transport microphotographs during the Franco-Prussian War; the debate surrounding the development of instantaneous photography; and finally the photographs taken of the Transit of Venus in 1874, unseen by the human eye but captured on camera and made accessible to the public through the periodical.Addressing a largely overlooked area of photographic history, From a Photograph makes an important contribution to this interdisciplinary research and will be of interest to historians of photography, print culture and science.
Films With Legs: Crossing Borders with Foreign Language Films addresses the ways international cinematic traditions both erect borders and blur them or tear them down. Each chapter of this book examines real and perceived borders, their representations on the screen and their manifestations in filmic texts that can also be cultural documents and political statements. The fifteen articles included here discuss films made by twenty-four directors, with dialogues in nine foreign languages, representing cultural aspects from twelve countries and five continents. From Algeria to Bulgaria, Germany to Israel, India to Argentina, the films studied in this book have legs that cross many borders and take their audiences on distant journeys. Simultaneously, these films comment on the ever-expanding nature of cinema itself, of filmic language and of film as language, and discuss how borders are constructed on the screen, not just in fences and walls and boundaries, but also in dialogue and dialect, speech and accent and silence.