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`This collection of classic essays in the study of visual culture fills a major gap in this new and expanding intellectual field. Its major strength is its insistence on the importance of three central aspects of the study of visual culture: the sign, the institution and the viewing subject. It will provide readers, teachers and students with an essential text in visual and cultural studies' - Janet Wolff, University of Rochester
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Visual Culture provides an invaluable resource of over 30 key statements from a wide range of disciplines, including four editorial essays which place the readings in their historical and theoretical context. Although underpinned by a focus on contemporary cultural theory, this Reader puts the study of visual culture and the rhetoric of the image at centre stage.
Divided into three parts: Cultures of the Visual; Regulating Photographic Meaning; and Looking and Subjectivity, the Reader enables students to make hitherto unmade connections between art, film and photography history and theory, history, semiotics and communications, media studies, and cultural theory.
Visual Culture sets the agenda for the study of Visual Culture and will be essential reading for researchers and students alike.
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`Visual Culture offers readers incredible riches. It contains a number of important articles on theoretical matters involving the analysis and interpretation of images and their culture, social and political dimensions. As such, it is a major contribution to our understanding of visual culture' - Journal of Communication
"This collection of classic essays in the study of visual culture fills a major gap in this new and expanding intellectual field. Its major strength is its insistence on the importance of three central aspects of the study of visual culture: the sign, the institution and the viewing subject. It will provide readers, teachers and students with essential text in visual and cultural studies."
Jessica Evans is Senior Lecturer in Cultural & Media Studies at the Open University.
Stuart Hall was born and raised in Jamaica and arrived in Britain on a Rhodes scholarship to Oxford in 1950. In 1958, he left his PhD on Henry James to found the New Left Review, which did much to open a debate about immigration and the politics of identity. Along with Raymond Williams and Richard Hoggart he established the first Cultural Studies programme at a British university in Birmingham in 1964, bringing the study of popular culture into the understanding of political and social change.After spending more than four decades as one of the UKs leading public intellectuals, Hall retired from formal academic life in 1997 and since then has continued to devote himself to questions of representation, creativity and difference. He became the chair of two foundations, Iniva, the Institute of International Visual Arts, and Autograph ABP, which seeks to promote photographers from culturally diverse backgrounds, and championed the opening of Inivas new Rivington Place arts complex in east London in 2007.
What is Visual Culture? - Jessica Evans and Stuart Hall PART ONE: CULTURES OF THE VISUAL Introduction - Jessica Evans A: Rhetorics of the Image The Natural Attitude - Norman Bryson Rhetoric of the Image - Roland Barthes Art, Common Sense and Photography - Victor Burgin Myth Today - Roland Barthes B: Techniques of the Visible Panopticism - Michel Foucault The Work of Art in the Age of Mechanical Reproduction - Walter Benjamin The Image-World - Susan Sontag Separation Perfected - Guy Debord The Bottom Line on Planet One - Dick Hebdige Squaring up to The Face PART TWO: REGULATING PHOTOGRAPHIC MEANINGS Introduction - Jessica Evans C: Theorizing Photography On the Institutions of Photography - Simon Watney The Social Definition of Photography - Pierre Bourdieu Reading an Archive - Allan Sekula Photography between Labour and Capital Photography's Discursive Spaces - Rosalind Krauss D: Institutions and Practices in Photography The Museum's Old, the Library's New Subject - Douglas Crimp Living with Contradictions - Abigail Solomon-Godeau Critical Practices in the Age of Supply-Side Aesthetics Evidence, Truth and Order and A Means of Surveillance - John Tagg Feeble Monsters - Jessica Evans Making Up Disabled People Marketing Mass Photography - Don Slater PART THREE: LOOKING AND SUBJECTIVITY Introduction - Stuart Hall E: Theoretical Perspectives Ideology and Ideological State Apparatuses - Louis Althusser Fetishism - Sigmund Freud The Scoptophilic Instinct and Identification - Otto Fenichel The Subject - Kaja Silverman Fantasia - Elizabeth Cowie The Other Question - Homi K Bhabha The Stereotype and Colonial Discourse F: Gendering the Gaze Visual Pleasure and Narrative Cinema - Laura Mulvey Desperately Seeking Difference - Jackie Stacey White Privilege and Looking Relations - Jane Gaines Race and Gender in Feminist Film Theory Sexuality in the Field of Vision - Jacqueline Rose G: 'Seeing' Racial Difference The Fact of Blackness - Frantz Fanon Alexander von Humboldt and the Reinvention of America - Mary Louise Pratt Reading Racial Fetishism - Kobena Mercer The Photographs of Robbert Mapplethorpe Dark Continents - Mary Ann Doane Epistemologies of Racial and Sexual Difference in Psycholanalysis and the Cinema White - Richard Dyer