Abstract only
Vision, visibility and power in colonial India

Beyond its simple valorisation as a symbol of knowledge and progress in post-Enlightenment narratives, light was central to the visual politics and imaginative geographies of empire. Empires of Light describes how imperial designations of ‘cities of light’ and ‘hearts of darkness’ were consonant with the dynamic material culture of light in the nineteenth-century industrialisation of light (in homes, streets, theatres, etc.) and its instrumentalisation through industries of representation. Empires of Light studies the material effects of light as power through the drama of imperial vision and its engagement with colonial India. It evaluates responses by the celebrated Indian painter Ravi Varma (1848–1906) to claim the centrality of light in imperial technologies of vision, not merely as an ideological effect but as a material presence that produces spaces and inscribes bodies.

Portraiture, caricature and visual culture in Britain, c. 1830–80

This book examines the role of political likenesses in a half-century that was crucial for the political modernisation of Britain, a two-party system that began to take shape and politicians became increasingly accountable and responsive to public opinion. Political language, especially electoral rhetoric, has been accorded considerable weight by recent studies in building broad coalitions of political support in popular and electoral politics. The 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. It examines a diverse range of material including woven silk portraiture, oil paintings, numismatics and medals, banners, ceramics, statuary and memorials as well as items printed on paper or card. After an analysis of the visual culture spawned by the reform bills of 1831-1832, the book shows how Conservative and Liberal/Reformer identities were visualised through semi-official series of portrait prints. The pictorial press, photographs and portrait testimonials, statues and memorials, MPs were venerated as independent representatives and champions of particular localities, trades, interests or issues, and not party hacks. Depictions of Lord Palmerston and his rivals, including Lord John Russell and Lord Derby, in the 1850s and 1860s often underplayed in pictorial representations to emphasise physical and political vigour. The role of political portraits and cartoons in the decade after the passing of the 1867 Representation of the People Act is also discussed.

The Marshall Plan films about Greece

the MP films inaugurated the visual politics of what historian of international affairs Michael Barnett has called ‘the age of neo-humanitarianism’, the period from the end of the Second World War up to the end of the Cold War. This period was characterised by a new ‘architecture of humanitarianism’, dominated at large by the patterns established by the United States during the Second World War, which were

in Global humanitarianism and media culture

choice of destinations, recreational and holiday opportunities and even the character of the group captured on camera, the visual politics of representation discloses the interplay of gender, age, physical well-being and ethnicity. Status, whether in familial terms or as a figure of authority within civic, occupational or associational setting, either at home or abroad, contributed to how, where and when filmmakers were able to

in Amateur film

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
Counter-power in photography from slavery to Occupy Wall Street

unresolved climate debt. In Detroit, Ferguson, Istanbul and many other places, we have learned that each and every one of us has the right to look and the right to be seen. And in Hong Kong in 2014, we were asking: how can a city be different from an empire? What does that change look like? Let’s go and find out. Note 1 This is a work-​in-​progress around the concept of the visual commons. My thanks go to the editors for their interest in publishing it in that format. References Abel, Elizabeth. 2010. Signs of the Times: The Visual Politics of Jim Crow. Berkeley

in Image operations
The keys to El Dorado

. The episode of Guzmán’s enthronement with an improvised baldachin and coat of arms offers a crude replica of the portrait of Philip II seen earlier, and it takes place to the musical accompaniment of the recercada by Diego de Ortiz (a further variation on a theme that is musical, visual, political, etc.). But after this absurd act of protocol – in the middle of the jungle! – the harshness of reality imposes itself: there

in Spanish cinema 1973–2010

designated ‘colored’ did not have separate lavatories for men and women. In Signs of the Times: The Visual Politics of Jim Crow, Elizabeth Abel describes this instance of racism as ‘consigning the bodies behind the ungendered door to an undifferentiated biological domain that is as much a subhuman outside as a prelapsarian home prior to the law of gender.’53 Jim Crow’s spatial collapse of sexual difference, which relegated black bodies to what Abel identifies as a ‘subhuman outside,’ insulted black men and women alike, as it barred access to the recognition offered by

in Addressing the other woman
Abstract only

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
Abstract only
Monuments, memorials and their visibility on the metropole and periphery

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