Popular images

Author(s):  
Jill Peterfeso
Keyword(s):  
Transfers ◽  
2013 ◽  
Vol 3 (2) ◽  
pp. 24-46 ◽  
Author(s):  
Franziska Torma

This article deals with the history of underwater film and the role that increased mobility plays in the exploration of nature. Drawing on research on the exploration of the ocean, it analyzes the production of popular images of the sea. The entry of humans into the depths of the oceans in the twentieth century did not revitalize myths of mermaids but rather retold oceanic myths in a modern fashion. Three stages stand out in this evolution of diving mobility. In the 1920s and 1930s, scenes of divers walking under water were the dominant motif. From the 1940s to the 1960s, use of autonomous diving equipment led to a modern incarnation of the “mermen“ myth. From the 1950s to the 1970s, cinematic technology was able to create visions of entire oceanic ecosystems. Underwater films contributed to the period of machine-age exploration in a very particular way: they made virtual voyages of the ocean possible and thus helped to shape the current understanding of the oceans as part of Planet Earth.


MELUS ◽  
2004 ◽  
Vol 29 (2) ◽  
pp. 3-25 ◽  
Author(s):  
T. Prchal
Keyword(s):  

Author(s):  
Signe Arnfred

Women, men and gender equality in development aid - trajectories, contestations. The Beijing Platform for Action introduced notions of gender equality, which have been picked up by donors and development agents in increasingly popular images of strong enterprising women, however with an emphasis on economic entrepreneurship, disregarding aspects of care- and motherwork. At the same time ‘colonial feminism' is still around, with its notions of women in the global South as oppressed under ‘tradition' but rescued by development and ‘modernity'. Such images have been re-invigorated in the global War on Terror, from 2001 onwards. The article investigates implications of these different but co-existing images of women in development contexts. It also discusses limitations of notions of gender equality, when used by donors and by women's organizations, and when discussed and critizised by post-colonial feminists.


Author(s):  
Felicitas Hoppe

Felicitas Hoppe gives an introduction to the art of adapting medieval poetry that is in itself a poetic work. In 2008, Hoppe adapted Hartmann von Aue’s Arthurian romance Iwein into a highly successful young adult novel. She speaks about this experience and about the art of adapting medieval literature more generally: about encountering popular images of knights looking like ladies and about inverted gender roles in Hartmann’s romance; about history as produced by wishes; about finding Iwein by chance in a bookshop and being captivated by its beauty; about the romance’s surprising timelessness in its psychologically astute characterisation, its sensible rationality and its uncompromising morality; about the dialectic between boredom and adventure, between the desire to grow up and the fear of growing up in all good children’s books (and Arthurian romances); about the relationship between honour and masculinity in the romance code of values; about Iwein’s insistence on physicality; and about narrative techniques for modernising the text (including the introduction of Iwein’s companion, the lion, as the narrator). As a whole, Hoppe’s piece is a remarkably sensitive analysis of how and why aspects of medieval literature exert a fascination on creative minds. It compellingly demonstrates the wealth of insights that adaptors of medieval texts gain, which can complement and inspire those of literary critics.


Author(s):  
Courtney R. Baker

This chapter discusses the visual culture of 1970s Black America, focusing especially on popular culture artifacts such as film, television, and comics, to make sense of the idea of movement in the postsegregationist United States. It attends to the representation of black people in various locations—from the inner city to the suburbs to a historical memory of the plantation slavery, the middle passage, and an African motherland—in visual forms, including Afrocentrist iconography, photography, and fine art. By attending to popular images, an important if not fuller picture of Black visual politics during the post-civil rights era becomes apparent.


STARDOM ◽  
2010 ◽  
pp. 40-44 ◽  
Author(s):  
Thomas Harris
Keyword(s):  

Author(s):  
Max Fink MD

The popular images of electroshock presented in the media reflect practices that were discarded more than 40 years ago. The films One Flew Over the Cuckoo’s Nest and A Beautiful Mind portray imaginative Hollywood images—not reality. The dramatic scene of a pleading patient dragged to a treatment room, forcibly administered electric currents as his jaw clenches, his back arches, and his body shakes while being held down by burly attendants or by foot and wrist restraints, is false. Patients are not coerced into treatment. They may be anxious and reluctant, but they come willingly to the treatment room. They have been told why the treatment is recommended, the procedures have been explained, and many have seen DVD or video images of the procedures. Each patient has consented to the treatment in writing, and in many instances, family members have also agreed. Understandably, the patient may be hesitant about the first treatment. He has seen those movies, so the procedures are explained again, and, except for feeling a needle placed in his vein and electrodes and measuring devices attached to his body, the patient is unaware of the treatment as it occurs. One patient described his treatment this way: “It is a nonentity, a nothing. You go to sleep, and when you wake up, it is all over. It is easier to take than going to the dentist.” Many patients ask to be treated early in the morning so that they can return to the day’s activities as soon as possible. It is not uncommon for patients to reassure family members about the procedure. Doctors frequently ask an experienced patient to explain the procedures and the discomforts to a candidate; patients undergoing ECT have proved to be its best advocates. A consent form, voluntarily signed by each patient, is a necessary part of electroconvulsive treatment in the United States. Such a consent procedure is uncommon in psychiatric practice, and was developed to address concerns about abuse at a time when public distrust of governmental authority was widespread and had affected the physician-patient relationship. In most venues, doctors accept the patient’s cooperation with medication treatment and psychotherapy as consent.


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