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Chris Perkins and Martin Dodge

Visual representations have often played a crucial role in imagining future urban forms. In the aftermath of the Second World War, a noteworthy new genre of urban plan was published in Britain, most deploying seductively optimistic illustrations of ways forward not only for the reconstruction of bomb-damaged towns and cities but also for places left largely undamaged. Visual representations have often played a crucial role in imagining future urban forms. In the aftermath of the Second World War, a noteworthy new genre of urban plan was published in Britain, most deploying seductively optimistic illustrations of ways forward not only for the reconstruction of bomb-damaged towns and cities but also for places left largely undamaged. This paper assesses the contribution of visual elements in this,process with a detailed case study of the maps, statistical charts, architectural drawings and photographs enrolled into the 1945 City of Manchester Plan. The cultural production of these visual representations is evaluated. Our analysis interprets the form, symbology and active work of different imagery in the process of reimagining Manchester, but also assesses the role of these images as markers of a particular moment in the cultural economy of the city. This analysis is carried out in relation to the ethos of the Plan as a whole.

Bulletin of the John Rylands Library
Four Conversations with Canadian Communications Officers
Dominique Marshall

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 Visual Media 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

Journal of Humanitarian Affairs
Dominique Marshall

’ projects, traveled towards the postal locker of the federal agency where Marc Rockbrune worked, and his collection contains fragments for the study of these local uses of media. As a result, the Rockbrune collection helps gauge how the CIDA visual productions were used in classrooms, where the teaching and learning visual practices occurred. The regularity of the subscriptions managed by Rockbrune’s service, the teaching of the materials within the structure of public schools, the attention to the social relations within which the pictures were taken, their publication

Journal of Humanitarian Affairs
Ruin paintings and architectural fantasies
Hélène Ibata

genre found a place among British visual practices, a number of Italian artists had understood that the capriccio was a way to eschew the constraints of classical composition. Giovanni Panini’s numerous vedute of Rome can thus be seen as so many compositional experiments, in which the fragments of antique architecture become the building blocks of unexpected and profuse formal arrangements. His exuberant museal spaces, in his imaginary views of Roman galleries and collections of art –​like his famous Roma antica (1757) and Galeria con vedute della Roma moderna (1759

in The challenge of the sublime
From Burke’s Philosophical Enquiry to British Romantic art
Author: Hélène Ibata

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.

Heather Norris Nicholson

commercially more impartial advice on amateur practice. This home-grown cine press rapidly matured into a well-regarded, focused and distinctive genre of hobby literature. 9 Its existence provides a literary context for amateur activities and places non-professional filmmaking within a broader understanding of visual practice, leisure and national cinematic history. The hobby literature hints at a specific reading public and

in Amateur film
Nancy Spero’s manifestary practice
Rachel Warriner

effect on the woman artist.15 The texts describe and condemn an aggressive system that devalues women and their work.16 Consistently exploring the nature of the woman artist’s exclusion from an unjust patriarchal art world and making assertions about the need for revolution, Spero’s writings from this period are often read as – and titled by the artist as – feminist art manifestos. I contend that her visual practice operates in a similar way to the manifesto form, one which is more traditionally considered to be literary. Drawing on this body of written work, I propose

in Mixed messages
Open Access (free)
Postcolonial governance and the policing of family
Author: Joe Turner

Bordering intimacy is a study of how borders and dominant forms of intimacy, such as family, are central to the governance of postcolonial states such as Britain. The book explores the connected history between contemporary border regimes and the policing of family with the role of borders under European and British empires. Building upon postcolonial, decolonial and black feminist theory, the investigation centres on how colonial bordering is remade in contemporary Britain through appeals to protect, sustain and make family life. Not only was family central to the making of colonial racism but claims to family continue to remake, shore up but also hide the organisation of racialised violence in liberal states. Drawing on historical investigations, the book investigates the continuity of colonial rule in numerous areas of contemporary government – family visa regimes, the policing of sham marriages, counterterror strategies, deprivation of citizenship, policing tactics, integration policy. In doing this, the book re-theorises how we think of the connection between liberal government, race, family, borders and empire. In using Britain as a case, this opens up further insights into the international/global circulations of liberal empire and its relationship to violence.

Abstract only
Hélène Ibata

academic theory, felt it necessary to demonstrate the sublimity and affective powers of their media. The emulation of poetry recommended by academic teaching and the superiority conferred on history painting revolved around this compelling necessity. As Paul Duro puts it, ‘from the point of view of eighteenth-​century art theory the sublime is exactly what serious painting aimed for’.11 In this book, I will argue that this rivalry and its effects on visual practices may to a great extent be traced to one of the most successful definitions of the sublime in British

in The challenge of the sublime
Abstract only
Niharika Dinkar

250 Empires of light Postscript I began this book by pointing to imperial practices of light that in turn inflected the more recognisable representations from twentieth-­century India, such as the literary movement Chhayavaad or cinematic noir. While the succeeding chapters went on to develop an archaeology for such visual practices in the long nineteenth century, in closing I would like to indicate how such an approach might help in addressing more intractable visual archives that have remained bound to dominant tropes of mimicry and the latter’s devaluation

in Empires of light