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Sam Rohdie

Images Most of the images and scenes in Histoire(s) du cinéma (1988–98) are citations. If their origins cannot be found, it is probable, nevertheless, that in time they will be. Some scenes in the film are staged, for example monologues by professional actors: Alain Cuny, Sabine Azema, Julie Delpy, Juliette Binoche and Godard. The monologues are quotations from philosophy and poetry either directly or in a collage of phrases from different sources. There is an argument in Histoire(s), or allusions to one, that historically the cinema did not realise its true

in Film modernism
Art, process, archaeology

This book presents a study of material images and asks how an appreciation of the making and unfolding of images and art alters archaeological accounts of prehistoric and historic societies. With contributions focusing on case studies including prehistoric Britain, Scandinavia, Iberia, the Americas and Dynastic Egypt, and including contemporary reflections on material images, it makes a novel contribution to ongoing debates relating to archaeological art and images. The book offers a New Materialist analysis of archaeological imagery, with an emphasis on considering the material character of images and their making and unfolding. The book reassesses the predominantly representational paradigm of archaeological image analysis and argues for the importance of considering the ontology of images. It considers images as processes or events and introduces the verb ‘imaging’ to underline the point that images are conditions of possibility that draw together differing aspects of the world. The book is divided into three sections: ‘Emergent images’, which focuses on practices of making; ‘Images as process’, which examines the making and role of images in prehistoric societies; and ‘Unfolding images’, which focuses on how images change as they are made and circulated. The book features contributions from archaeologists, Egyptologists, anthropologists and artists. The contributors to the book highlight the multiple role of images in prehistoric and historic societies, demonstrating that archaeologists need to recognise the dynamic and changeable character of images.

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Visual media and political conflict
Editors: Jens Eder and Charlotte Klonk

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.

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Looking across the borderlands of art, media and visual culture
Author: Anna Dahlgren

Travelling images critically examines the migrations and transformations of images as they travel between different image communities. It consists of four case studies covering the period 1870–2010 and includes photocollages, window displays, fashion imagery and contemporary art projects. Through these four close-ups it seeks to reveal the mechanisms, nature and character of these migration processes, and the agents behind them, as well as the sites where they have taken place. The overall aim of this book is thus to understand the mechanisms of interfacing events in the borderlands of the art world. Two key arguments are developed in the book, reflected by its title Travelling images. First, the notion of travel and focus on movements and transformations signal an emphasis on the similarities between cultural artefacts and living beings. The book considers ‘the social biography’ and ‘ecology’ of images, but also, on a more profound level, the biography and ecology of the notion of art. In doing so, it merges perspectives from art history and image studies with media studies. Consequently, it combines a focus on the individual case, typical for art history and material culture studies with a focus on processes and systems, on continuities and ruptures, and alternate histories inspired by media archaeology and cultural historical media studies. Second, the central concept of image is in this book used to designate both visual conventions, patterns or contents and tangible visual images. Thus it simultaneously consider of content and materiality.

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Harun Farocki and the operational image
Volker Pantenburg

49 Working images: Harun Farocki and the operational image Volker Pantenburg ‘Images without a social goal, not for edification, not for reflection.’ This is the negative definition of ‘operational images’ that Harun Farocki provides in the first part of his three-​part installation Eye/​Machine.1 The filmmaker and video artist was one of the first to examine in depth the various uses of images as instruments. His work consists in a continuous examination of the operational potential of images in different fields of practice. Farocki’s Eye/​Machine series (2000

in Image operations
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A relational approach
Julia Gallagher and V. Y. Mudimbe

This book is about images of Africa – how they are produced, by whom and for what purposes; and about how they are understood. These questions are fraught because of the continent’s relationship with the wider world, particularly the European world, which for many years assumed the right to create images of Africa, in fiction, travel writing, anthropological research, maps, missionary accounts, colonial records and reports produced by aid agencies. Since the middle of the twentieth century, when the majority of African states began to move

in Images of Africa
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Refracting control from virtual reality to the digital battlefield
Timothy Lenoir and Luke Caldwell

89 Image operations: refracting control from virtual reality to the digital battlefield Timothy Lenoir and Luke Caldwell In the post-​Cold War era, the US military invested heavily in a makeover to replace the massive US ground forces of the post-​World War II era with smaller, more flexible organisational units typified by special operations forces and weapons systems that exploited the new information technologies: what military historian Max Boot called ‘a new American way of war’ grounded in ‘speed, maneuver, flexibility … precision firepower, special

in Image operations
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Charlotte Klonk

Images of terror come as a shock, each time anew. The closer they approach our own lives, the more we are involved and the more we are reminded of other, comparable attacks. Media and communication research on the psychological impact of news images has shown that visuals produce a stronger sense of involvement than texts and carry a more powerful emotional charge. 1 Although we all know that photographs and film or video footage only show part of what could be seen and might sometimes even be manipulated, we do not realise this when we look at them. 2 As

in Terror
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William Butler

6 Public image The public image of the amateur and regular forces is often overlooked by historians discussing military forces.1 This includes the image of the various arms of the military during their existence, but also the legacy in the collective memory of a population. Within Ireland, this sort of remembrance, particularly in the form of memorials which commemorate the First World War, often has to be balanced with the remembrance of nationalist opposition, culminating in independence, and the sacrifices of those in British military service are often

in The Irish amateur military tradition in the British Army, 1854–1992
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Chari Larsson

The final chapter takes its departure point from Didi-Huberman’s enigmatic proposal in Images in Spite of All that ‘Montage is the art of producing this form that thinks.’ 1 Didi-Huberman’s passing observation was made in respect to the series of four photographs taken by ‘Alex’, the member of the Sonderkommando in the Auschwitz-Birkenau concentration camp. The sentence is slight, and he does not elaborate, leaving us to question what it means for an image to think. If montage and images can generate thought, what state is the subject left in? In this

in Didi-Huberman and the image