of information about development in Canadian schools during that period offer the historian a significant opportunity to study practical and ideological traditions of visual communications for pedagogical purposes among humanitarian agencies.
The focus of historical inquiries of visualmedia is often on the content produced and the intended audience, with limited examination of those responsible for the logistics and pedagogical dimensions of the distribution of the materials. This article discusses the following aspects of the practices of CIDA: the purpose of
be found? And what could they
learn from each other? This special issue uses the past and present of humanitarian
communication as a point of departure to begin a joint reflection on the possibilities
and potentials of more collaboration. Our focus is particularly on visualmedia.
Together, historians and practitioners discuss the role of visualmedia in humanitarian
communication, ask how this role has formed out historically, and explore what changes
it may be undergoing currently. The forum
The recent uses of digital technology in war films have sparked a wave of
discussions about new visual aesthetics in the genre. Drawing on the approach of
film discourse analysis, this article critically examines recent claims about
new visual grammar in the war film and investigates to what extent the insertion
of different media channels has affected the persuasive function of the genre.
Through a detailed analysis of Redacted (2007), which
constitutes an extreme case of a fiction filmmaking use of a variety of digital
channels, this article demonstrates that the multimedia format works within
systems of classical film discourse while also generating new patterns of
persuasion tied to new visual technology.
An Interview with Rainer Schlösser, Spokesperson of the Association of the Red Cross Museums in Germany (Arbeitsgemeinschaft der deutschen Rotkreuz-Museen)
and new visualmedia? I mean, how important can a Red Cross museum be in those times?
RS: Well, being a museum director, I would of course say they are extremely important! [(laughter]
SK: Yes, I see that point [laughter] But what exactly is it that makes them so important?
RS: Let me point back to the ten-year anniversary of the Association of the Red Cross Museums in Germany here. I remember that I gave a speech on that occasion, in which I pointed out that big companies like Mercedes, Stollwerck, or Volkswagen – they all have a corporate museum. Why
The Visual Politics and Narratives of Red Cross Museums in Europe and the
United States, 1920s to 2010s
. Two particular qualities, however, make them
distinct from other visualmedia: the one is their capability to create
three-dimensional visual experiences by arranging films, photos, text panels, and
other aesthetic objects across a museum space. The other is their ability to shape
multisensory narratives that connect various media with each other. A look at the
history of Red Cross museums therefore opens a promising window on the ways in which
those institutions have
The challenge of the sublime argues that the unprecedented visual inventiveness of the Romantic period in Britain could be seen as a response to theories of the sublime, more specifically to Edmund Burke’s Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757). While it is widely accepted that the Enquiry contributed to shaping the thematics of terror that became fashionable in British art from the 1770s, this book contends that its influence was of even greater consequence, paradoxically because of Burke’s conviction that the visual arts were incapable of conveying the sublime. His argument that the sublime was beyond the reach of painting, because of the mimetic nature of visual representation, directly or indirectly incited visual artists to explore not just new themes, but also new compositional strategies and even new or undeveloped pictorial and graphic media, such as the panorama, book illustrations and capricci. More significantly, it began to call into question mimetic representational models, causing artists to reflect about the presentation of the unpresentable and the inadequacy of their endeavours, and thus drawing attention to the process of artistic production itself, rather than the finished artwork. By revisiting the links between eighteenth-century aesthetic theory and visual practices, The challenge of the sublime establishes new interdisciplinary connections which address researchers in the fields of art history, cultural studies and aesthetics.
Four Conversations with Canadian Communications Officers
of power over the making and dissemination of images, the ethical principles involved in their visual practice and, finally, the concerns they share with historians.
Apprenticeships and Career Trajectories among VisualMedia Specialists in Canadian NGOs
The course of the careers of all five publicists is marked by the history of the technical and institutional transformations of the media industry, from the decrease in size and number of newspapers, magazines, and news agencies, to the multiplication of online platforms, the deregulation of news outlets
Visual Advocacy in the Early Decades of Humanitarian Cinema
brought back some Soviet footage after a visit to the Volga region in November 1921. 3
These movies demonstrate a growing competition to use visualmedia to promote relief operations in Russia, Armenia, or Greece. Although, nothing competed with the massive commercial success of Auction of Souls , a movie adapted from the book Ravished Armenia , written by a survivor of the genocide, Aurora Mardiganian, and released in 1919 by NER. The plot depicted the deportation of entire Armenian families and religious leaders in April 1915, killed along the forced marches or
Still and moving images are crucial factors in contemporary political conflicts. They not only have representational, expressive or illustrative functions, but also augment and create significant events. Beyond altering states of mind, they affect bodies, and often life or death is at stake. Various forms of image operations are currently performed in the contexts of war, insurgency and activism. Photographs, videos, interactive simulations and other kinds of images steer drones to their targets, train soldiers, terrorise the public, celebrate protest icons, uncover injustices, or call for help. They are often parts of complex agential networks and move across different media and cultural environments. This book is a pioneering interdisciplinary study of the role and function of images in political life. Balancing theoretical reflections with in-depth case studies, it brings together renowned scholars and activists from different fields to offer a multifaceted critical perspective on a crucial aspect of contemporary visual culture.
Palmerston and his rivals
Commercial mass-produced images of leading politicians became ubiquitous
after 1850. Likenesses in illustrated periodicals and photographic formats were
a crucial element in shaping the perception of prominent politicians, whether
positively or negatively. This chapter shows how a highly favourable persona
of Henry John Temple, 3rd Viscount Palmerston, Liberal prime minister
1855–58, 1859–65, was projected through a range of visualmedia. A study
of these images is of considerable significance in understanding Palmerston’s