‘Image operations’ immediately evokes the rich scholarship on new media technologies, be they satellite or drone images. Their shadow occludes another mode of image mobilisation: the formation of popular movements against state and corporate hegemonies. At the centre of such mobilisation lies an ‘embodied visuality’, harnessing spectatorial senses to the image and forging collectivity among those held in its thrall. A theory of embodied visuality indexes the social power of the image, a power perhaps most potent in the icon. Focusing on one kind of iconic image, visceral and sensuous, this chapter considers the image operations of the hunger striker in forging the popular. It looks at the anti-governmental campaign launched in the name of Irom Sharmila, the iron lady of Manipur, and asks: What is the nature of Sharmila’s appeal? Can we argue it has something to do with the formal operations of the image or its specific historical materiality? Can its operation be generalized beyond the historical context of Manipur?
In this chapter, the author, through a family history, speaks of how forced exile persists through generations. He narrates the series of events that took place after he left England and moved to United States, including the catastrophic failures of nuclear reactors. The discussion largely focuses on the incidence of cancers caused by exposure to radioactivity in England, and the impact it had on Anglo-American relations. The author also showcases the differences between English and American cultures.
In this chapter, the author discusses the cultural life in Rochester, New York, in the 1920s. The city of the 1920s is often referred to as 'Mr Eastman's town'. Economically, the first three decades of the twentieth century had been described as Rochester's golden age, and the centrality of Eastman-Kodak to the city's prosperity had important cultural consequences. The establishment by George Eastman of the Eastman School of Music and the Eastman Theatre in 1922 was the single most important event marking the 'end of provincialism'. The 'Rochester Renaissance' owed a lot to Eastman's wealth and philanthropy .
In this chapter, the author explains the internment of aliens in Britain during the Second World War. The 'internment of aliens' is a peculiar and rather hysterical measure taken by the British government after Dunkirk. The author describes his father as an alien. He is alien to Britain and to English culture. He came to Britain from Germany in February 1938, was a class C 'enemy alien' (recognised as a genuine refugee, and officially designated a 'friendly' enemy alien). The classifications were made by wartime tribunals set up in Britain in 1939.