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Fintan Cullen

Portland, OR, Irish Academic Press, 2000, p. vi. An 1890s’ photograph showing the Sikh guns in the rotunda of the Dublin Museum of Science and Art is in the Lawrence Collection, National Photographic Archive, National Library of Ireland, Dublin. 3 For Wheatley’s paintings see Fintan Cullen, Visual Politics. The Representation of

in Cultural identities and the aesthetics of Britishness
Abstract only
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
Silvia Salvatici

), pp. 140–183. 76 Davide Rodogno and Thomas David, ‘All the World Loves a Picture: The World Health Organization’s Visual Politics, 1948–1973’, in H. Fehrenbach and D. Rodogno (eds), Humanitarian Photography: A History (New York: Cambridge University Press, 2015), pp. 223–248. 77 Jennifer J. Palmer and Pete Kingsley, ‘Controlling Sleeping Sickness Amidst Conflict and Calm: Remembering, Forgetting and the Policy of Humanitarian Knowledge in Southern Sudan, 1954–2005’, in C. Bennett, M. Foley and H. B. Krebs (eds), Learning from the Past to Shape

in A history of humanitarianism, 1755–1989
Andrea Mariuzzo

posters that had the dove of the Partisans dripping blood or mutating into a tank; inspired by this, the main Italian centres for producing visual political imagery set to work on conveying similar ideas in their illustrations.176 Posters produced by the Civic Committees tended to give the message that the Partisans’ dove should be seen as an aggressive threat rather than a message of peace: it was seen nesting in the cannon barrel of a Soviet tank, or carrying rifles and machine guns in its claws. In Il Quotidiano in June 1950, by contrast, Jacovitti drew ‘Picasso

in Communism and anti-Communism in early Cold War Italy