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Surviving Images explores the prominent role of cinema in the development of cultural memory around war and conflict in colonial and postcolonial contexts. It does so through a study of three historical eras: the colonial period, the national-independence struggle, and the postcolonial. Beginning with a study of British colonial cinema on the Sudan, then exploring anti-colonial cinema in Algeria, Egypt and Tunisia, followed by case studies of films emerging from postcolonial contexts in Palestine, Iran, Lebanon, and Israel, this work aims to fill a gap in the critical literature on both Middle Eastern cinemas, and to contribute more broadly to scholarship on social trauma and cultural memory in colonial and postcolonial contexts. This work treats the concept of trauma critically, however, and posits that social trauma must be understood as a framework for producing social and political meaning out of these historical events. Social trauma thus sets out a productive process of historical interpretation, and cultural texts such as cinematic works both illuminate and contribute to this process. Through these discussions, Surviving Images illustrates cinema's productive role in contributing to the changing dynamics of cultural memory of war and social conflict in the modern world.
A book that looks at both the traditional and the unconventional ways in which the holocaust has been visually represented. The purpose of this volume is to enhance our understanding of the visual representation of the Holocaust - in films, television, photographs, art and museum installations and cultural artifacts - and to examine the ways in which these have shaped our consciousness. The areas covered include the Eichman Trial as covered on American television, the impact of Schindler's List, the Jewish Museum in Berlin, the Isreali Heritage Museums, Women and Holocaust Photography, Internet Holocaust sites and tattoos and shrunken heads, the bodies of the dead and of the survivors.>
In The Survival of Images, Louis Rose offers an engaging exploration of these changes as they occurred in three key areas of inquiry at the turn of the century: art history, classics, and the emerging field of psychoanalysis." "Discussing each one's endeavors within a historically rich context, The Survival of Images offers insights into the concepts and methods that would animate the study of culture for much of the twentieth century."--BOOK JACKET.
Images in Urology is a unique book that integrates images of urological conditions within their clinical context. Improvements in imaging techniques have meant greater diagnostic power and a dramatic rise in the number and quality of images obtained and viewed by practicing clinicians. None more so than in the field of urology, where static and dynamic images are fundamental to the diagnosis and treatment of almost all conditions. This book presents images of radiological and radionucleotide scans, macroscopic and microscopic histopathology specimens, urodynamic traces and photographs of dermatological conditions relating to urology. Each section has a series of questions, often relating to a clinical scenario, about the images. A comprehensive answer provides a description of each image and of the condition shown. Details of how to interpret the image and the use of contrast or staining methods to help differentiate normal anatomy from pathology are included. Images in Urology is an essential tool for urology, radiology and histopathology trainees and consultants, as well as being an excellent exam preparation guide.
Originally published in French in 2002, examines the life and work of art historian Aby Warburg. Demonstrates the complexity and importance of Warburg's ideas, addressing broader questions regarding art historians' conceptions of time, memory, symbols, and the relationship between art and the rational and irrational forces of the psyche.
Of one and a half million surviving photographs related to Nazi concentration camps, only four depict the actual process of mass killing perpetrated at the gas chambers. Images in Spite of All reveals that these rare photos of Auschwitz, taken clandestinely by one of the Jewish prisoners forced to help carry out the atrocities there, were made as a potent act of resistance. Available today because they were smuggled out of the camp and into the hands of Polish resistance fighters, the photographs show a group of naked women being herded into the gas chambers and the cremation of corpses that have just been pulled out. Georges Didi-Huberman’s relentless consideration of these harrowing scenes demonstrates how Holocaust testimony can shift from texts and imaginations to irrefutable images that attempt to speak the unspeakable. Including a powerful response to those who have criticized his interest in these images as voyeuristic, Didi-Huberman’s eloquent reflections constitute an invaluable contribution to debates over the representability of the Holocaust and the status of archival photographs in an image-saturated world.
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.
After the Fact studies the terrain of Holocaust documentaries subsequent to the turn of the twenty-first century. Until now most studies have centered primarily on canonical films such as Shoah and Night and Fog, but over the course of the last ten years filmmaking practices have altered dramatically. Changing techniques, diminishing communities of survivors, and the public's response to familiar, even iconic imagery, have all challenged filmmakers to radically revise and newly envision how they depict the Holocaust. Innovative styles have emerged, including groundbreaking techniques of incorporating archival footage, survivor testimony, and reenactment. Carrying wider implications for the fields of Film Studies, Jewish Studies, and Visual Studies, this book closely analyzes ten contemporary and internationally produced films, most of which have hardly been touched upon in the critical literature or elsewhere.
A fully illustrated, panoramic world history of art from ancient civilisation to the present day, exploring the remarkable endurance of humankind's creative impulse. Some fifty thousand years ago, on an island in modern-day Indonesia, an early human used red ochre pigment to capture the likeness of a native pig on a limestone cave wall. Around the same time, across the globe in Europe, another human retrieved a lump of charcoal from an old fire and sketched four galloping horses. It was like a light turning on in the human mind. Our instinct to produce images in response to nature allowed the earliest Homo sapiens to understand the world around us, and to thrive. Now, the art historian John-Paul Stonard has travelled across continents to take us on a panoramic journey through the history of art – from ancient Anatolian standing stones to a Qing Dynasty ink handscroll, from a drawing by a Kiowa artist from the Great Plains to a post-independence Congolese painting. Lavishly illustrated throughout, Creation is an ambitious, thrilling and landmark work that leads us from Benin to Belgium, China to Constantinople, Mexico to Mesopotamia. Journeying from pre-history to the present day, it explores the remarkable endurance of humankind's creative impulse, and asks how – and why – we create.
In this sweeping volume of comparative philosophy and intellectual history, Barry Allen reassesses the values of experience and experiment in European and world traditions. His work traces the history of empirical philosophy from its birth in Greek medicine to its emergence as a philosophy of modern science. He surveys medical empiricism, Aristotlean and Epicurean empiricism, the empiricism of Gassendi and Locke, logical empiricism, radical empiricism, transcendental empiricism, and varieties of anti-empiricism from Parmenides to Wilfrid Sellars. Throughout this extensive intellectual history, Allen builds an argument in three parts. A richly detailed account of history's empiricisms in Part One establishes a context in Part Two for reconsidering the work of the radical empiricists--William James, Henri Bergson, John Dewey, and Gilles Deleuze, each treated in a dedicated chapter. What is "radical" about them is their effort to return empiricism from epistemology to the ontology and natural philosophy where it began. In Part Three, Allen sets empirical philosophy in conversation with Chinese tradition, considering technological, scientific, medical, and alchemical sources, as well as selected Confucian, Daoist, and Mohist classics. The work shows how philosophical reflection on experience and a profound experimental practice coexist in traditional China with no interaction or even awareness of each other, slipping over each other instead of intertwining as they did in European history, a difference Allen attributes to a different understanding of the value of knowledge. Allen's book recovers empiricism's neglected, multi-textured contexts, and elucidates the enduring value of experience, to arrive at an idea of what is living and dead in philosophical empiricism.