AN INTRODUCTION TO VISUAL CULTURE BY NICHOLAS MIRZOEFF PDF

Shelves: cultural-politics Nick Mirzoeffs valuable charting of visual cultures landscape draws together both a very long view incorporating ancient Greek and Arabic science, the global transformation that was the colonisation of the Americas, patterns of colonial racial and gendered power in central Africa and the development of computing technology from the early 19th century onwards. In reclaiming that look, it refuses to do the commodified labour of looking, of paying attention. It claims the right to be seen by the common as a counter to the possibility of being disappeared by governments. It claims the right to a secular viewpoint. Above all, it is the claim to a history that is not told from the point of view of the police.

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We cannot stop at theory, the whole point is to move 10 revised. Mirzoeff provides a solid guide to atrocities. Mirzoeff begins the new edition by marking its this practice. We saw a peace dividend lofty theoretical platform, marching on into more 20 disappear. We watched hijacked planes fly into contemporary texts and issues: gender and sexuality as buildings. Once again, people accused of crimes well as images and conflict.

We were shocked and awed by the live Mirzoeff understands the social dimensions well, which broadcast of the bombing of Baghdad. Multiple of torture and execution. Theorising a hybrid, 75 the media and make the seemingly transparent opaque, everyday multi-culture is the positive goal here, but 30 again and again.

The new edition also provides screen Mirzoeff also understands how visual culture itself grabs, and I have long been arguing that such things are can be employed negatively against this utopian as historical as a Victorian post card, but remain urge.

To be fair to 85 40 Mirzoeff avoids these shortcomings. It is the elephant 90 write, the obituaries of the associated peace campaigner in the room, occasionally brushed-against, but not 45 Brian Haw are still on my desk, another reminder of the explored in full. There are already excellent chapters on need to constantly refresh works.

History and mortality sexuality, the fetish and the gaze, which could never wait. This book provides measured. Somehow, Mirzoeff manages all of this with everything I look for when choosing introductory texts: I an easy style and flourish which will make the book a always demand that they provide their own sort of core resource for visual sociologists for some time yet, as positive double-consciousness; they must be long as this kind of thoroughgoing revision keeps taking simultaneously accessible and challenging, place.

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