they were perceived, individually
and collectively, and illuminate the nature of the relationship between parliamentarians and constituents that was recast after 1832. This book studies political likenesses, the key mode of visualpolitics at this time, as part of a nuanced
analysis of contemporary political culture and the nature of the representative
system. However, it also places these images in context, not studying them as
decontextualised visual texts, but as visual media that were produced, distributed, consumed and used as material objects. To this end, a
This point is brought home with particular force in the
concluding chapter to Part 1, where Fuyuki Kurasawa offers
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a compelling critique of what Costas Douzinas has aptly
termed ‘the visualpolitics of suffering’ (Douzinas, 2007: 17).
Kurasawa focuses specifically on the way in which alterity
is visually represented in Western media coverage of
humanitarian disasters in the global
, Charity, and the Poverty of Representation
(London; New Jersey: Zed Books, 1996), p. 21.
Ibid., p. 21.
John Urry, The Tourist Gaze: Leisure and Travel in Contemporary Societies (London: Sage,
1990), p. 3.
Ibid. p. 3.
Of course, there are limitations to this, and knowledge production must still adhere to
the parameters of acceptable scholarship.
Kenneth Little, ‘On Safari: The VisualPolitics of a Tourist Representation’, in David
Howes, ed., The Varieties of Sensory Experience: A Sourcebook in the Anthropology of the
Senses (Toronto: University of Toronto Press, 1991
The point of my engaging in this artful field and investigating some sanctuary expressions is not to acritically celebrate these modes of politics, but to highlight the variegated discursive fields that shape how sanctuary is practised. In so doing my aim is to contribute to a growing field of visualpolitical work that reminds us to question the images we consume, and to become more intentional about how we engage with and circulate these representations in our daily lives (Bleiker et al., 2013 ). For instance, as educators in the classroom we might ask: what maps
visualpolitical clues – flag, insignia, political poster – to serve as an outright synecdoche, Costa-Gavras cleverly makes national identity the issue.
There exist, however, a few cultural clues, scattered throughout the film, that point to Greece, such as some photos of the Greek royal family, an Olympic Airways name on the steps of jet airstairs, an Olympic Airways poster, and a few Greek beer bottles, but most audience members would have had to rely upon knowledge of Greek nationalism and the Colonels’ takeover to place Z as Greek. No mention in dialogue
Monuments, memorials and their visibility on the metropole and periphery
to convince populations that there was a ‘right’ to
colonise. The two imperial powers thus sought to legitimise their
newly established colonial structures by different means: visual
ones, the erection of monuments, statues and memorials, were part of
this ‘project’. Three practices of architectural visualpolitics were envisaged: firstly, the conservation and restoration
Juvenile actors and humanitarian sentiment in the 1940s
“art,” are awash with the same trappings of sentimentality … that are
often considered negative in “commercial” narrative films’. 38 Karl Schoonover has
discussed the international reception of Italian neorealism in relation to ‘the emergence of a new visualpolitics of
liberal compassion’ and argues that for both American and European
commentators alike ‘an emergent realist aesthetic of cinema could build
new vectors of post
The management of migration between care and control
article on the visualpolitics of this operation, speaking the language of combating human
smuggling and potential terrorists, while rescuing lives and protecting
migrants’ human rights, Mare Nostrum performs the spectacle of the
‘humanitarian battlefield’. 37 The concept of ‘humanitarian battlefield’ can be
better understood if we investigate the communication performances of
Mare Nostrum within what
publicity. I arrived early and found a seat, struck by the visualpolitics as audience members, marked by keffiyehs, kippahs, hijabs and clothes
emblazoned with institutional affiliations and political slogans, took their places.
They sat in raised chairs encircling the invited speakers, like spectators at a boxing
match. There was a buzz of collective anticipation in the air as the NUS president
introduced the meeting and the room fell silent. As the debate unfolded, the tone
quickly became confrontational, the atmosphere tense. Audience contributions
Alongside an industrial empire of light, Burke’s vision of a conquering
empire therefore summons the light of empire, as light assumes a significant
place within an imperial optics and its engagement with the colonial world.
Even as light featured as a symbol of knowledge and progress in post-
Enlightenment narratives, it was central to the visualpolitics and imaginative
geographies of empire. Geographical spaces were mapped in terms of ‘cities of
light’ and ‘hearts of darkness’, and ‘the civilising mission’ employed iconographies of torches or the lifting of the veil