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The first detailed study of what filmic images can tell us about iconic photographs, No Power Without an Image reveals the multifaceted connections between seven celebrated photographs of political struggles, taken between 1936 and 1968, and cinema in all its forms. Moving from the 'paper cinema' of magazines via newsreels and film journals, to documentary, fiction and experimental films, this fascinating book draws on original archival research and multidisciplinary icon theory to explore new ways of thinking about the confluence of still and moving images.
Images are not neutral conveyors of messages shipped around the globe to achieve globalized spectatorship. They are powerful forces that elicit very diverse responses and can resist new visual hegemonies of our global world. Bringing together case studies from the field of media, art, politics, religion, anthropology and science, this volume breaks new ground by reflecting on the very power of images beyond their medial exploitation. The contributions by Hans Belting, Susan Buck-Morss, Georges Didi-Huberman, W.J.T. Mitchell, and Ticio Escobar among others testify that globalization does not necessarily equal homogenization, and that images can open up alternative ways of picturing what is to come.
In 1992 W. J. T. Mitchell argued for a "pictorial turn" in the humanities, registering a renewed interest in and prevalence of pictures and images in what had been understood as an age of simulation, or an increasingly extensive and diverse visual culture. However, in what is often characterized as a society of the "spectacle" we still do not know exactly what pictures or images are, what their relation to language is, how they operate on observers and the world, how their history is to be understood, and what is to be done with or about them. In this seminal collection of essays, the first to be devoted to the "pictorial turn", theorists from across the humanities and social sciences, representing the disciplines of art history, philosophy, geography, media studies, visual studies and anthropology, are brought together with a paleontologist and practising artists to consider amongst other things the relation between pictures and images, the power of landscape, the nature of political images, the status of images in the natural sciences, the "life" of images, and the pictorial uncanny. With these topics in mind, picture theory and iconology exceed in scope the objects of visual culture conventionally understood. This book was published as a special issue of Culture, Theory and Critique.
The history of projected images at the turn of the seventeenth century reveals a changing perception of chance and order, contingency and form. In Projecting Spirits, Pasi Väliaho maps how the leading optical media of the period—the camera obscura and the magic lantern—developed in response to, and framed, the era's key intellectual dilemma of whether the world fell under God's providential care, or was subject to chance and open to speculating. As Väliaho shows, camera obscuras and magic lanterns were variously employed to give the world an intelligible and manageable design. Jesuit scholars embraced devices of projection as part of their pursuit of divine government, whilst the Royal Society fellows enlisted them in their quest for empirical knowledge as well as colonial expansion. Projections of light and shadow grew into critical metaphors in early responses to the turbulences of finance. In such instances, Väliaho argues, "projection" became an indispensable cognitive form to both assert providence, and to make sense of an economic reality that was gradually escaping from divine guidance. Drawing on a range of materials—philosophical, scientific and religious literature, visual arts, correspondence, poems, pamphlets, and illustrations—this provocative and inventive work expands our concept of the early media of projection, revealing how they spoke to early modern thinkers, and shaped a new, speculative concept of the world.
This book examines how the nation – and its (fundamental) law – are ‘sensed’ by way of various aesthetic forms from the age of revolution up until our age of contested democratic legitimacy. Contemporary democratic legitimacy is tied, among other things, to consent, to representation, to the identity of ruler and ruled, and, of course, to legality and the legal forms through which democracy is structured. This book expands the ways in which we can understand and appreciate democratic legitimacy. If (democratic) communities are “imagined” this book suggests that their “rightfulness” must be “sensed” – analogously to the need for justice not only to be done, but to be seen to be done. This book brings together legal, historical and philosophical perspectives on the representation and iconography of the nation in the European, North American and Australian contexts from contributors in law, political science, history, art history and philosophy.
This carefully edited collection has been designed and formatted to the highest digital standards and adjusted for readability on all devices. The Art of Logical Thinking The Crucible of Modern Thought Dynamic Thought How to Read Human Nature The Inner Consciousness The Law of the New Thought The Mastery of Being Memory Culture Memory: How to Develop, Train and Use It The Art of Expression and The Principles of Discourse Mental Fascination Mind and Body; or Mental States and Physical Conditions Mind Power: The Secret of Mental Magic The New Psychology Its Message, Principles and Practice New Thought Nuggets of the New Thought Practical Mental Influence Practical Mind-Reading Practical Psychomancy and Crystal Gazing The Psychology of Salesmanship Reincarnation and the Law of Karma The Secret of Mental Magic The Secret of Success Self-Healing by Thought Force The Subconscious and the Superconscious Planes of Mind Suggestion and Auto-Suggestion Telepathy: Its Theory, Facts, and Proof Thought-Culture - Practical Mental Training Thought-Force in Business and Everyday Life Thought Vibration or the Law of Attraction in the Thought World Your Mind and How to Use It The Hindu-Yogi Science Of Breath Lessons in Yogi Philosophy and Oriental Occultism Advanced Course in Yogi Philosophy and Oriental Occultism Hatha Yoga The Science of Psychic Healing Raja Yoga or Mental Development Gnani Yoga The Inner Teachings of the Philosophies and Religions of India Mystic Christianity The Life Beyond Death The Practical Water Cure The Spirit of the Upanishads or the Aphorisms of the Wise Bhagavad Gita The Art and Science of Personal Magnetism Master Mind Mental Therapeutics The Power of Concentration Genuine Mediumship Clairvoyance and Occult Powers The Human Aura The Secret Doctrines of the Rosicrucians Personal Power The Arcane Teachings The Arcane Formulas, or Mental Alchemy Vril, or Vital Magnet
"Having undergone profound material, aesthetic, and institutional transformations since the arrival of digital technologies, photography and film frequently intersect in the processes of convergence (the shared technological basis of diverse media in digital code) and remediation (the mutual reshaping of old and new media). However, the foundational relations between film and photography have a long history extending well back into the nineteenth century. This history includes many acclaimed practitioners who have worked in both media, such as Albert Kahn, Helen Levitt, Agnès Varda, Chris Marker, Robert Frank, Wim Wenders, Abbas Kiarostami, and Fiona Tan, but it also involves a range of intermedial forms that combine elements of both media, such as the film still, the film photonovel, and the photofilm. These hybrid forms were long neglected critically because they were considered marginal forms of paratextuality or deviations from medium specificity-the idea that a medium must be deployed according to its own specific capacities compared to other media"--
"Saving Paradise" offers a fascinating new lens on the history of Christianity, asking how its early vision of beauty evolved into a vision of torture, and what changes in society and theology marked that evolution.
A gaunt woman stares into the bleakness of the Great Depression. An exuberant sailor plants a kiss on a nurse in the heart of Times Square. A naked Vietnamese girl runs in terror from a napalm attack. An unarmed man stops a tank in Tiananmen Square. These and a handful of other photographs have become icons of public culture: widely recognized, historically significant, emotionally resonant images that are used repeatedly to negotiate civic identity. But why are these images so powerful? How do they remain meaningful across generations? What do they expose--and what goes unsaid? InNo Caption Needed, Robert Hariman and John Louis Lucaites provide the definitive study of the iconic photograph as a dynamic form of public art. Their critical analyses of nine individual icons explore the photographs themselves and their subsequent circulation through an astonishing array of media, including stamps, posters, billboards, editorial cartoons, TV shows, Web pages, tattoos, and more. As these iconic images are reproduced and refashioned by governments, commercial advertisers, journalists, grassroots advocates, bloggers, and artists, their alterations throw key features of political experience into sharp relief. Iconic images are revealed as models of visual eloquence, signposts for collective memory, means of persuasion across the political spectrum, and a crucial resource for critical reflection. Arguing against the conventional belief that visual images short-circuit rational deliberation and radical critique, Hariman and Lucaites make a bold case for the value of visual imagery in a liberal-democratic society.No Caption Neededis a compelling demonstration of photojournalism's vital contribution to public life.