decade a war without images, ‘an invisible war’ fought within a ‘culture of silence’. It is for this reason, he contends, that the 1997 photograph of a grieving Algerian woman became such a famous visual index of the conflict, winning the World Press Photo prize and being circulated around the world. The visibility of this image screened the absence of any others (see Stora 2001 : 7). Similarly, the novelist Boualem Sansal has written of a

in Algerian national cinema

jinn as well as from intrusions by secular state institutions. My intention has been to specifically explore the role of the invisible in their experiences of mental illness and spirit possession, and as such, this book belongs to a long tradition of studies aiming to understand the invisible in human life. Illnesses such as psychosis and possession occupy an ambiguous position in the borderland between the visible and invisible. Such illnesses are sometimes expressed through visible signs, but the cause of illness and the experience of

in Descending with angels
Visual investigation and conflict

169 Exposing the invisible: visual investigation and conflict 12 Stephanie Hankey and Marek Tuszynski For the last, almost two hundred years, journalists and illustrators and then photographers would be present on battlefields. The landscapes of conflict were part of the reporting of those conflicts, and they deeply influenced our understanding of them. We talk about the media activities around the Gulf War, the first genuinely televised war, but before that there was photography in Vietnam, and water-​colourists on the battlefields of Crimea. We have an

in Image operations
Middle-class identity and documentary film

5 Approaching the invisible centre: middle-class identity and documentary film So far in this book I have considered various engagements with screen documentary made by viewers other than myself. In this chapter I turn attention to some of my own responses to documentary films, and explore how my identity, particularly its middleclass aspect, has shaped these reactions. The purpose behind this move is not to wallow in narcissism, nor to ‘restore’ a middleclass, white and male subjectivity to the centre stage of film and media studies – if it has ever been truly

in Watching the world

CONCLUSION The invisible chain I N THE FIRST PART of this study an attempt was made to consider afresh the familiar civilian experience of the Second World War in Britain with a view to assessing how well the morale of the ordinary people came through that time of trial. That it did not break was not the point at issue – no one has ever suggested it did. The issue was, simply, where on the continuum from ‘low’ to ‘high’, from ‘poor’ to ‘good’ would one, in retrospect, place the spirit and behaviour of the people during those six years. This investigation

in Half the battle
Transmigrancy, memory and local identities

nation-states’, leading them to be represented by academics, policy makers and the media as ‘matter out of place’. 45 Much the same could be said of transmigrants in the early twentieth century and their subsequent invisibility – in spite of their huge numbers. The power of exclusive narratives, both then and now, and the subsequent effort required to humanise those in the lower decks is neatly illustrated through the career of Southampton-born artist, Sam Smith. Smith was born in 1908 and it has been suggested that ‘Childhood experiences of

in Anglo-Jewry since 1066
Abstract only
Gothic Bodies and Diabetes

The diabetic body can be mapped as a profoundly Gothic landscape, referencing theories of the monstrous, the uncanny and the abject. Diabetes is revealed under what Foucault has termed the medical gaze, where the body becomes a contested site, its ownership questioned by the repeated invasion of medical procedures. As an invisible chronic illness, diabetic lifestyle is positioned in relation to issues of control, transformation, and the abnormal normal. Translating the Gothic trope of the outsider into medical and social realms, the diabetic body is seen as the Othered body ceaselessly striving to attain perfection through blood purification rituals. This essay examines how diabetes is portrayed in film and fine art practice from the filmic approach to diabetes as dramatic trope to fine art techniques that parallel ethnographic and sociological approaches to chronic illness.

Gothic Studies
Open Access (free)
Humanitarianism in a Post-Liberal World Order

looking on that the catastrophe has been contained . It is a kind of quarantine effect, whereby what frightens observers is the idea of uncontrolled, ongoing, unpredictable suffering. Humanitarians arrive to create a moment of ‘new normal’ where the flow has been stemmed, the hole plugged. The Ebola response is an example of this – the vast cost in life and suffering and the everyday life experiences of West Africans in the communities affected are all but invisible now because the breach was contained. What normal does is obscure and disguise

Journal of Humanitarian Affairs
From the Global to the Local

campaign, I outline how it simultaneously highlights the vulnerability and ‘worthiness’ of certain groups of Palestinian refugees (a well-worn, and equally critiqued, fundraising strategy) while also centralising certain Palestinians’ agency and rights. Considering hypervisibility and invisibility ( Fiddian-Qasmiyeh, 2016a ), I argue that the international campaign’s celebration of specific groups of Palestinian refugees and its prioritisation of communication with international audiences simultaneously dismisses the roles and rights of diverse groups

Journal of Humanitarian Affairs
Islamic exorcism and psychiatry: a film monograph

What is it like to be a Muslim possessed by a jinn spirit? How do you find refuge from madness and evil spirits in a place like Denmark?

As elsewhere in Europe and North America, Danish Muslims have become hypervisible through intensive state monitoring, surveillance, and media coverage. Yet their religion remains poorly understood and is frequently identified by politicians, commentators, and even healthcare specialists as the underlying invisible cause of ‘integration problems’.

Over several years Christian Suhr followed Muslim patients being treated in a Danish mosque and in a psychiatric hospital. With this book and award-winning film he provides a unique account of the invisible dynamics of possession and psychosis, and an analysis of how the bodies and souls of Muslim patients are shaped by the conflicting demands of Islam and the psychiatric institutions of European nation-states.

The book reveals how both psychiatric and Islamic healing work not only to produce relief from pain, but also entail an ethical transformation of the patient and the cultivation of religious and secular values through the experience of pain. Creatively exploring the analytic possibilities provided by the use of a camera, both text and film show how disruptive ritual techniques are used in healing to destabilise individual perceptions and experiences of agency, so as to allow patients to submit to the invisible powers of psychotropic medicine or God.