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Pictures are often admired for their aesthetic merits but they are rarely treated as if they had as much to offer as the written word. They are often overlooked as objects of analysis themselves, and tend to be seen simply as adjuncts to the text. Images, however, are not passive, and have a direct impact that engages attention in ways independent of any specific text. Advertising, entertainment and propaganda have realised the extent of this power to shape ideas, but the scientific community has hitherto neglected the ways in which visual material conditions the ways in which we think. With subjects including prehistoric artworks, excavation illustrations, artists' impressions of ancient sites and peoples and contemporary landscapes, photographs and drawings, this study explores how pictures shape our perceptions and our expectations of the past. This volume is not concerned with the accuracy of pictures from the past or directly about the past itself, but is interested instead in why certain subjects are selected, why they are depicted the way they are, and what effects such images have on our idea of the past. This collection constitutes a ground-breaking study in historiography which radically reassesses the ways that history can be written.
DIVAn ethnography of inellectual property, discussing the uses made of items of inellectual property by various cultural groups -- for purposes of identity, solidaritiy, resistance and so forth. /div
The contributors in this book discuss images of aging which have come to circulate in the advanced industrial societies today. They address such themes as gender images of aging, images of health, illness and death.
In Iran, the history of photography and cinematography is mired with doubts and ambiguities. While academic debates have focused on the photography and cinematography of the Qajar era from the viewpoint of historical analyses and technical aspects, there does not appear to be any anthropological research, and particularly, visual anthropological research on these two important visual mediums. This book is the first of its kind to use visual anthropology, ethnographical film studies, as well as media/visual studies as a methodological framework for examining the socio-cultural life during the Qajar era in Persia (Iran). (Series: Iranian Studies - Vol. 2) [Subject: History, Iranian Studies, Anthropology, Ethnography, Cultural Studies, Middle East Studies, Film Studies, Photography, Media Studies]
In Latin America, where even today writing has remained a restricted form of expression, the task of generating consent and imposing the emergent nation-state as the exclusive form of the political, was largely conferred to the image. Furthermore, at the moment of its historical demise, the new, 'postmodern' forms of sovereignty appear to rely even more heavily on visual discourses of power. However, a critique of the iconography of the modern state-form has been missing. This volume is the first concerted attempt by cultural, historical and visual scholars to address the political dimension of visual culture in Latin America, in a comparative perspective spanning various regions and historical stages. The case studies are divided into four sections, analysing the formation of a public sphere, the visual politics of avant-garde art, the impact of mass society on political iconography, and the consolidation and crisis of territory as a key icon of the state. Jens Andermann is a Lecturer in Latin American Studies at Birkbeck College, London, and co-editor of the Journal of Latin American Cultural Studies. Among his publications are Mapas de poder: una arqueología literaria del espacio argentino (Rosario, 2000) and articles for major journals in Argentina, Brazil, Europe and the US. William Rowe is Anniversary Professor of Poetics at Birkbeck College, London. His book Memory and Modernity: Popular Culture in Latin America (London, 1991) has been translated into several languages. His most recent works, apart from translations of a wide range of Latin American poetry, are Poets of Contemporary Latin America: History and the Inner Life (Oxford, 2000) and Ensayos vallejianos (Berkeley and Lima, 2006).
Ideology dominates social research, encouraged by rejections of nature and the past, and often ignores the direct experience of actual people. This archaeological study takes a different approach, grounding concepts of culture, landscape and art in ecological relations that embrace all of life. An ecological approach considers that life exists in the interactions of people with the environment surrounding them. This theoretical grounding therefore supports research at a local scale and validates the analysis of individual effort. The case studies explore individual perception, action and expression in a startlingly diverse set of objects and features from the past: natural and constructed monuments, ancient and recent rock paintings, petroglyphs, fresco paintings and impressionist landscape art. While traditional cultural approaches render ordinary people as proxies, these individuals, as members of families and communities, do the actual work of society, using their senses, bodies and minds. The analysis here therefore turns away from traditional speculations about the meanings of cultural things to look for evidence of the personal choices of travelers, inhabitants, pilgrims and artists as they acted, and attempt to gain insights from these decisions about the past as lived. The book will be of interest to scholars, researchers and advanced students in culture and society who may be restless in theatres of discourse dominated by self-affirming narratives, who wish to consider the fields of possibility in an environmental perspective that integrates culture with nature and humans with other beings in a singular, physical world.
This cutting-edge text offers an introduction to the emerging field of media archaeology and analyses the innovative theoretical and artistic methodology used to excavate current media through its past. Written with a steampunk attitude, What is Media Archaeology? examines the theoretical challenges of studying digital culture and memory and opens up the sedimented layers of contemporary media culture. The author contextualizes media archaeology in relation to other key media studies debates including software studies, German media theory, imaginary media research, new materialism and digital humanities. What is Media Archaeology? advances an innovative theoretical position while also presenting an engaging and accessible overview for students of media, film and cultural studies. It will be essential reading for anyone interested in the interdisciplinary ties between art, technology and media.
Drawing on interviews, responses to questionnaires, and oral histories by U.S.
Catastrophes and crises are exceptions. They are disruptions of order. In various ways and to different degrees, they change and subvert what we regard as normal. They may occur on a personal level in the form of traumatic or stressful situations, on a social level in the form of unstable political, financial or religious situations, or on a global level in the form of environmental states of emergency. The main assumption in this book is that, in contrast to the directness of any given catastrophe and its obvious physical, economical and psychological consequences our understanding of catastrophes and crises is shaped by our cultural imagination. No matter in which eruptive and traumatizing form we encounter them, our collective repertoire of symbolic forms, historical sensibilities, modes of representation, and patterns of imagination determine how we identify, analyze and deal with catastrophes and crises.This book presents a series of articles investigating how we address and interpret catastrophes and crises in film, literature, art and theory, ranging from Voltaire’s eighteenth-century Europe, haunted by revolutions and earthquakes, to the 1994 genocide in Rwanda to the bleak, prophetic landscapes of Cormac McCarthy.
In the 1920s, with the end of the revolution, the Soviet government began investing resources and energy into creating a new type of book for the first generation of young Soviet readers. In a sense, these early books for children were the ABCs of Soviet modernity; creatively illustrated and intricately designed, they were manuals and primers that helped the young reader enter the field of politics through literature. Children’s books provided the basic vocabulary and grammar for understanding new, post-revolutionary realities, but they also taught young readers how to perceive modern events and communist practices. Relying on a process of dual-media rendering, illustrated books presented propaganda as a simple, repeatable narrative or verse, while also casting it in easily recognizable graphic images. A vehicle of ideology, object of affection, and product of labour all in one, the illustrated book for the young Soviet reader emerged as an important cultural phenomenon. Communist in its content, it was often avant-gardist in its form. Spotlighting three thematic threads – communist goals, pedagogy, and propaganda – The Pedagogy of Images traces the formation of a mass-modern readership through the creation of the communist-inflected visual and narrative conventions that these early readers were meant to appropriate.