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Images of Africa and Asia in British advertising

We live in an age in which advertising is part of the fabric of our lives. Advertising in its modern form largely has its origins in the later nineteenth century. This book is the first to provide a historical survey of images of black people in advertising during the colonial period. It highlights the way in which racist representations continually developed and shifted throughout the nineteenth and twentieth centuries, depending on the particular political and economic interests of the producers of these images. The book analyses the various conflicting, and changing ideologies of colonialism and racism in British advertising, revealing reveal the purposes to which these images of dehumanisation and exploitation were employed. The first part deals with images of Africa, the second deals with images of black people in the West, and the third considers questions relating to issues about images and social representations in general. The Eurocentric image of the 'savage' and 'heathen', the period of slavery, European exploration and missionary activity, as well as the colonisation of Africa in the nineteenth century are explored. Representations of the servant, the entertainer, and the exotic man or woman with a rampant sexuality are also presented. The key strategy with which images of black people from the colonial period have been considered is that of stereotyping. The material interests of soap manufacturers, cocoa manufacturers, tea advertising, and tobacco advertising are discussed. The book explains the four particular types of imagery dominate corporate advertising during the 1950s and early 1960s.

Open Access (free)
Towards a teleological model of nationalism
David Bruce MacDonald

, the manipulation of myths and national history performed an incredibly important role during the collapse of Yugoslavia in the 1980s, and the wars of succession that followed after 1990. Before analysing these national myths, and their specific political objectives, it will be useful to understand what species, or general types, of myths have been used – and why. Reviewing the works of many major nationalism theorists, this chapter introduces a useful analytical model to help understand the nature of Serbian and Croatian myths, the types of imagery they invoke, and

in Balkan holocausts?
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.

Occultism and the metamorphic self in Florentine Futurism
Paola Sica

:58:46 150 Paola Sica The impression that the fields of inquiry were multiplying and deepening thanks to a spiritual revival and new scientific theories – and the anxieties provoked by the war – had a substantial impact on the making of literature and the arts. In this atmosphere, certain theosophical works became fertile sources of reference for the creation of a new type of imagery in the Futurist Florentine circle. To this purpose, the book Thought-forms, written by Annie Besant together with C. W. Leadbeater in 1905, may be conceived as a stimulating text for those

in Back to the Futurists
Fredrik Fahlander

specific terms. Because of their mediality (Belting 2005), petroglyphs comprise an especially interesting type of imagery in this case. The slow and laborious production process and limited iconographic range of motifs make petroglyphs well suited to a discussion about generative aspects of partial imagery. Partial boats and anthropomorphs in Boglösa Due to the schematic style of petroglyphs and the materiality of the rock, which does not encourage detailed elaboration, even fully fledged The partial and the vague as a visual mode 205 rock art figures are quite

in Images in the making
Kate Grandjouan

of this type of imagery. 11 Using the print as an example, this chapter will argue that Heat III of the European Race highlights both the continuity and transformation of a satirical format – the Aesopian fable. The print illustrates how a graphic satirist adopts an Aesopian beastiary to encode political critique, transforming a textual tradition by making it visible. Although historians have

in Changing satire
Open Access (free)
Confronting relativism in Serbia and Croatia
David Bruce MacDonald

one really wanted to, ‘unfold a glorious past’, or ‘a golden age of saints and heroes’.9 Smith’s ‘myth of the historical renovation’ – where the nation was to return to its basic national ‘essence’ – was not a top priority.10 The closest example of this type of imagery was the myth of the separate Croatian language, which was somehow seen to contain their national essence. However, the six hundredth anniversary of Kosovo did, as Smith described, vividly re-create the ‘glorious past’ of the Serbian nation.11 The marketing of Kosovo products and the ubiquitous use of

in Balkan holocausts?
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The seen unseen of drone warfare
Tom Holert

cramped cockpit environment, facing an array of monitors, keyboards and joysticks, another type of imagery, in the main produced by the US Air Force itself, presents the sensor operators outdoors, on the tarmac, in close contact with the payload of electro-​optical cameras and other sensors.5 In a short 2014 USAF clip published on YouTube (which has since been removed), a young Air Force soldier working at a Predator airfield moves, touches, caresses the sensor payload with ostentatious sensitivity while explaining some of its features (Plate 9). The most sensitive and

in Image operations
Kara Walker, Kehinde Wiley, DJ Spooky and The Birth of a Nation
Robert Burgoyne

emerging culture of prestige. Notes 1 The ‘Darktown’ series, by the famous and much-loved publishers Currier and Ives, provides a flamboyant example of this type of imagery. Although the Darktown series was only a small part of Currier and Ives’ massive output, it was one of their most popular series, with one

in D.W. Griffith’s The Birth of a Nation
From Baudelaire to Black Venus
Marie Mulvey-Roberts

architect of liberation, if you like”’ (Appignanesi, 1987 cited by Watz, 2017: 113). 21 Baudelaire’s iconic poem ‘Correspondances’ is reproduced in full in Marcel Raymond’s De Baudelaire au surréalisme, along with verse from Breton, Soupault, Vitrac, Eluard, and Tzara quoted liberally in the chapter devoted to surrealist poetry. 22 Both Watz and Dimovitz refer to several paintings by Magritte that manipulate and ‘deface’ the female body (with a focus on Le Viol, 1947), but not La Dame. 23 This type of imagery would outrage Anglo-American feminist critics, including

in The arts of Angela Carter