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Henry Miller

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 visual politics 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

in Politics personified
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Stella Gaon

’. This point is brought home with particular force in the concluding chapter to Part 1, where Fuyuki Kurasawa offers 5302P Democracy MUP-PT/lb.qxd 23/10/09 16:08 Page 19 INTRODUCTION 1111 2 3 4 5111 6 7 8 9 10111 11 12 3111 4 5 6 7 8 9 20111 1 2 3 4 5 6 7 8 9 30111 1 2 3 4 5 6 7 8 9 40 1 42111 a compelling critique of what Costas Douzinas has aptly termed ‘the visual politics 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

in Democracy in crisis
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Elizabeth Dauphinée

, 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 Visual Politics 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

in The ethics of researching war
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Expanding geopolitical imaginations
Jen Bagelman

. 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 visual political 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

in Sanctuary cities and urban struggles
Homer B. Pettey

visual political 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

in The films of Costa-Gavras
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Monuments, memorials and their visibility on the metropole and periphery
Xavier Guégan

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 visual politics were envisaged: firstly, the conservation and restoration of

in Sites of imperial memory
Juvenile actors and humanitarian sentiment in the 1940s
Michael Lawrence

“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 visual politics 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

in Global humanitarianism and media culture
Open Access (free)
The management of migration between care and control
Pierluigi Musarò

article on the visual politics 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

in Global humanitarianism and media culture
The claim of reason
Ruth Sheldon

publicity. I arrived early and found a seat, struck by the visual politics 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 were forcefully

in Tragic encounters and ordinary ethics
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Niharika Dinkar

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 visual politics 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

in Empires of light