CHAPTER 10. Visual Regimes of Colonization: European and Aboriginal Seeing in Australia

2020 ◽  
pp. 267-280
Keyword(s):  
Visual Regimes

Machines, Nations, and Faciality

2019 ◽  
pp. 156-193
Author(s):  
Serguei Alex Oushakine
Keyword(s):  
Elementary School ◽  
School Children ◽  
Industrial Production ◽  
Political Development ◽  
Elementary School Children ◽  
Visual Fields ◽  
Dual Process ◽  
Dual Nature ◽  
Soviet Russia ◽  
Visual Regimes

This article explores illustrated children’s books that were published in Soviet Russia during the first five-year plan (1928–1932). Targeting mostly preschool and elementary school children, these books are creatively illustrated, offering their readers highly detailed accounts of economic and political development in the country. Soviet pedagogues perceived this literature as a tool for training “literate spectators,” able to discern social and political importance of images. The article follows this idea, using the books for tracing visual regimes that represented class and ethnicity in the 1920s–1930s. Picture books for children successfully reflected the dual nature of socialist transformations in the USSR, where building new sites of industrial production were closely linked with the building of new nations. Very early on, this literature also documented the bifurcation of this dual process. The detailed portrayal of ethnic distinctions was paralleled by the visual disappearance of the working class, producing a stream of illustrations in which technology and ethnic groups emerged as self-sufficient visual fields, ostensibly disconnected from class, labor, and history.

Visual regimes of the dead

2019 ◽  
pp. 39-63
Author(s):  
Marc Trabsky
Keyword(s):  
The Dead ◽  
Visual Regimes

Aesthetics of Acquisition: Notes on the Transactional Life of Persons and Things in Gabon

2015 ◽  
Vol 57 (3) ◽  
pp. 753-779 ◽  
Author(s):  
Florence Bernault
Keyword(s):  
The Self ◽  
Historical Study ◽  
Manufacturing Processes ◽  
Social Actors ◽  
Technologies Of The Self ◽  
Visual Events ◽  
Equatorial Africa ◽  
Economic Production ◽  
Visual Regimes ◽  
Material Exchange

AbstractBased on a historical study of older and newer visual regimes in Gabon, Equatorial Africa, this paper examines spectacles as world-manufacturing processes that produce and circulate assets. Visual and aesthetic strategies have often been analyzed as technologies of the self that transform and manifest people's identities. I show here that they also work as a means to create resources and put them into motion. The notion of “aesthetics of acquisition” helps to capture the dynamic energy of visual events and reinsert them into the realms of economic production and material exchange. If spectacles allow people to acquire riches, produce new statuses, and circulate resources, I argue, the process through which this occurs cannot be analytically reduced to a mere commodification of the person. Instead, I explain how aesthetics of acquisition enable institutional and social actors to assume temporary commodity status, a moment and a strategy that I call “transactional life.”

The problematic object of the London Underground

2012 ◽  
Vol 16 (2) ◽  
pp. 105-107
Author(s):  
Marko Jobst
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Railway Station ◽  
Hybrid Nature ◽  
Crystal Palace ◽  
London Underground ◽  
Underground Station ◽  
Visual Regimes ◽  
Dominant Narratives

This perspective looks at the London Underground station building and proposes that it has a problematic status which is yet to be fully acknowledged in architectural writing. The emergence of the London Underground in the second half of the nineteenth century challenged some of the basic premises of what would become, by the twentieth century, the standard interpretations of Modernism and, yet, it remains insufficiently researched. In outlining a trajectory that leads from Crystal Palace via the railway station and the hybrid nature of the arcade to the London Underground, the aim is to indicate that the spatial and visual regimes of the Underground – and its main architectural object, the Underground station – trace a lineage that was never fully reconciled with the dominant narratives of Modernism.

scholarly journals How to Watch the Story of Film Adaptation. Cortázar, Antonioni, Blow-Up

2011 ◽  
pp. 115-131
Author(s):  
James Cisneros
Keyword(s):  
Short Story ◽  
Blow Up ◽  
Film Adaptation ◽  
Material Support ◽  
History Of ◽  
Visual Regimes

A brief heuristic survey of research on the adaptation of literature to film shows that it has consistently given priority to the narrative of the classical cinema, effacing the media's respective material support as well as its place in a history of visual regimes. Instead of following this institutional comparative paradigm, with its implications for agency and reception, this article develops an approach to adaptation that places the media's technologies at the center of the storytelling process. A case study of Cortázar's short story “Las Babas del Diablo” and Antonioni's film Blow-Up, it focuses on how each of these nearly theoretical texts outlines the kind of story that pushes its own discursive processes into the foreground.

'Black but Human'

2019 ◽  
Author(s):  
Carmen Fracchia
Keyword(s):  
Early Modern ◽  
New World ◽  
Visual Representations ◽  
Human Diversity ◽  
Artistic Production ◽  
Transatlantic Slave Trade ◽  
Power And Resistance ◽  
Collective Resistance ◽  
Visual Regimes ◽  
Main Thread

The African presence in imperial Spain, of between 10-15 per cent of the population, was due to the institutionalization of the transatlantic slave trade that brought between seven- to eight hundred thousand Africans as slaves to Spain and Portugal. If we add those slaves born in these European territories and the three to four hundred thousand Moor, Berber and Turk slaves, there were approximately two million slaves living in the Iberian Peninsula during this period. The Afro-Hispanic proverb ‘Black but Human’ that provides part of the book’s title, serves as a lens through which to explore the ways in which certain visual representations of slavery both embody and reproduce hegemonic visions of subaltern groups, and at the same time provide material for critical and emancipatory practices by Afro-Hispanic slaves and ex-slaves themselves. It thus allows us to generate critical insights into the articulations of slave subjectivity by exploring the links between visual regimes and the early modern Spanish and New World discourses on slavery and human diversity. My book provides a complex new reading of neglected moments of artistic production in Hapsburg Spain establishing their importance as relays of power and resistance. We could claim that the ‘Black but Human’ topos encodes the multilayered processes through which a black emancipatory subject emerges and a ‘black nation’ forges a collective resistance, and the ways in which these moments are articulated visually by a range of artists. Thus, this proverb is the main thread of the six chapters of this book.

Visual Regimes of Juche Ideology in North Korea’s The Country I Saw

2019 ◽  
pp. 588-608
Author(s):  
Travis Workman
Keyword(s):  
Japanese Colonialism ◽  
Post Cold War ◽  
The North ◽  
Nation States ◽  
History Of ◽  
Japanese Colonial ◽  
The Media ◽  
Juche Ideology ◽  
Visual Regimes ◽  
Korean Film

This article discusses the North Korean film series The Country I Saw, focusing on transformations in the function of the Japanese colonial gaze in post–Cold War North Korean media. By comparing and contrasting the representation of fact-based empiricist journalism in Part One (1988) with the expression of a mediated sovereign exceptionality in the sequels (2009–2010), the essay shows how the series gives aesthetic form to North Korean juche ideology and spectacles of a realized communist utopia in the decolonized DPRK only through the repetition of generally modern visual regimes that are integrally tied to the history of Japanese colonialism and US neocolonialism. It asks us to rethink the history of communist visual cultures, particularly in formerly colonized countries, in relation to this kind of repetition and appropriation of colonial ways of seeing within the media of communist, postcolonial nation-states.

Comedy on the Boards

2018 ◽  
pp. 425-438
Author(s):  
Erika T. Lin
Keyword(s):  
Visual Perception ◽  
Early Modern ◽  
Historical Context ◽  
Twelfth Night ◽  
Midsummer Night's Dream ◽  
Early Modern Theatre ◽  
Physical Barriers ◽  
Visual Regimes

This chapter examines some of the techniques by which the early modern theatre invited its audiences into the shared production of stage space. It focuses in particular on the ways in which Shakespeare’s comedies ask spectators to see across, within, and through physical barriers, enabling the pleasurable transgression of both social and corporeal boundaries. Looking at early modern theories of visual perception, it provides a historical context for some of Shakespeare’s most compelling strategies for imagining comic space, including the ‘lock-out’ scene in The Comedy of Errors, the parodic use of a character to play ‘Wall’ in Midsummer Night’s Dream, and the use of a ‘dark house’ to imprison Malvolio in Twelfth Night. It concludes by analysing contemporary performances of the comedies against more recent notions of sight and spectatorship, suggesting that comedy tends to invert the visual regimes dominant in any given period.

‘Welcome to selfiestan’: identity and the networked gaze in Indian mobile media

2019 ◽  
Vol 42 (1) ◽  
pp. 93-108
Author(s):  
Stephen Monteiro
Keyword(s):  
Social Media ◽  
Hindu Nationalism ◽  
Culturally Specific ◽  
Mobile Media ◽  
Production Methods ◽  
Critical Technology ◽  
Media Imagery ◽  
Visual Regimes ◽  
Political Success ◽  
User Device

This article examines selfie culture and visual social media in India by exploring how smartphone marketing and the performativity of the user–device interface intersect with the cultural influence of the Hindu ritual of darshan and the recent political success of populist Hindu nationalism. Darshan, a long-standing, everyday Hindu practice entailing an active visual and physical exchange between worshiper and devotional image or object, bears striking overlaps with the mechanics and conditions of the networked visuality of the self. Taking a critical technology approach, this article places scholarship on selfies and their production methods in conversation with anthropological descriptions of darshan and existing theories of darshan’s impact on media in South Asia. Theoretical exploration of concepts and practices is augmented by content analysis of social media imagery related to darshan. In arguing that aspects of traditional visual regimes may endure in personal networked media use in India, this work underscores the need for balancing globalized affordances and applications, on one hand, with culturally specific meanings and ideological frames, on the other, particularly as these converge in the visual performance of networked identity.

High Altitude Legality: Visuality and Jurisdiction in the Adjudication of NATO Air Strikes

2019 ◽  
Vol 34 (2) ◽  
pp. 261-280 ◽  
Author(s):  
Christiane Wilke
Keyword(s):  
High Altitude ◽  
Visual Regimes

AbstractAir strikes are the signature modality of violence used by NATO militaries. When civilian victims of NATO air strikes have turned to courts in NATO countries, they have generally not been successful. What are the legal techniques and legal knowledges deployed in Western courts that render Western aerial violence legal or extralegal? The article analyzes the responses by European courts to two sets of NATO bombings: the 1999 bombing of Yugoslavia and a September 2009 air strike near Kunduz, Afghanistan. The judgments rely on two forms of “legal technicalities”: the drawing of jurisdictional boundaries that exclude the airspace taken up by the bombers and the ground on which victims stood when they were killed as well as particular visual regimes that facilitate not seeing people on the ground as civilians.

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