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Lors du couronnement de Hailé Sélassié Ier à Addis-Abeba en novembre 1930, des photographies ont été prises pour transmettre les fondements de l’idéologie royale éthiopienne. Sur la scène médiatique internationale, le souverain incarnait une représentation alternative du pouvoir politique et un symbole d’indépendance dans l’Afrique colonisée. Cet article analyse la vie politique et sociale de ses portraits aux États-Unis et en Jamaïque. Il questionne leur agentivité dans d’autres contextes culturels, en portant une attention particulière à la matérialité des images, aux discours et pratiques qu’elles ont suscités, en particulier lors de la genèse du mouvement rastafari. Nous soutenons que la photographie a permis de créer des repères visuels partagés de part et d’autre de l’Atlantique, en bouleversant le champ connotatif associé au phénotype noir, en appuyant le renversement symbolique des rapports de domination et en nourrissant la création de nouvelles identités collectives. In November 1930, during the coronation of Hailé Sélassié in Addis-Abeba, photographs were taken in order to relay the principles of the royal Ethiopian ideology. For the international media, the sovereign embodied an alternative representation of political authority and a symbol of independence in colonized Africa. This article analyzes the political and social life of his portraits in the United States and Jamaica. It questions their agency in other cultural contexts, and carries particular focus to the material side of images, to the discourse and practices they generated, especially during the beginning of the Rastafari movement. We maintain that photography allowed to create visual landmarks shared on both sides of the Atlantic, disrupting the meanings associated with the black phenotype, supporting the symbolic reversal of power relations and encouraging the establishment of new group identities.

[EN] The visual culture of animation cinema, especially Disney, generates a great impact on the consuming public that consumes it, that reproduces the social patterns that are spread in this fictional material. For this reason, the need arises to qualitatively study the religious discourses, messages and positions that it adopts. After the analysis of a representative set of 60 films, the predominance of Christian dogma and the concealment / undervaluation of the rest of the religions are concluded. In this way, Disney is considered as a producer of animation that hinders the progress and inclusion of religious diversity in Christian regulations., [ES] La cultura visual del cine de animación, especialmente Disney, genera un gran impacto en el público infantil que la consume, quien reproduce en la realidad los patrones sociales que se difunden de dicho material ficticio. Por ello, surge la necesidad de estudiar cualitativamente los discursos, mensajes y posicionamientos religiosos que adopta. Tras el análisis de una colección representativa de 60 películas se concluye con el predominio del dogma cristiano y la ocultación/infravaloración del resto de religiones. De esta manera se considera a Disney como una productora de animación que dificulta el progreso y la inclusión de la diversidad religiosa en la normatividad cristiana.

[ES] Se propone documentar la contribución de Lodovico Pogliaghi a la construcción iconográfica de don Bosco entre la beatificación y canonización. Contextualizar y, en cierto modo, (re)valorizar un retrato olvidado, pero no desconocido del Santo, que ha permanecido en los márgenes del archivo y de los discursos historiográficos oficiales e institucionales de los años ochenta hasta la actualidad. [EN] The aim of this research is to document Lodovico Pogliaghi’s contribution to the iconographic construction of don Bosco between his beatification and canonisation. To contextualise and (re)valorise a forgotten but not unknown portrait of the Saint, which has remained on the margins of the archives and of official and institutional historiographical discourses from the 1980s to the present day.

Vol. 9 Núm. Monográfico (2022): Lenguajes cinematográficos y televisivos: sus formas y contenidos El Ministerio del Tiempo (2015-2020), TV series broadcasted by Spanish National Public Television Channel, uses pictorial tradition to build up characters, past eras and mise-in-scene. This wide and intense use of painting provides a huge visual, aesthetic and storytelling richness in its building of the past. From this point of view, a case study of the recreation of Las meninas is carried out, revealing parallels between Velázquez's conception of his master painting and its audiovisual construction in the TV series. El Ministerio del Tiempo (2015-2020), serie de Televisión Española, emplea la tradición pictórica para construir personajes, épocas pasadas a las que viajan los protagonistas y la puesta en escena. Este amplio e intenso uso de la pintura enriquece el resultado visual, estético y narrativo de construcción del pasado. Partiendo de un breve análisis de ello, se realiza un estudio de caso de la recreación que se realiza de Las meninas, revelando paralelismos entre la concepción de la obra por parte de Velázquez y su construcción audiovisual en la serie.

Cet article étudie les discours des Bolcheviks, psychologues, pédagogues, médecins et artistes soviétiques concernant la définition de l’image pour enfant au moment du Premier plan quinquennal (1928-1932). Il établit les fonctions attribuées à l’image pour enfants et les différences de définition et de priorité accordées à ces fonctions par les professions et, en leur sein, par les individus. L’emploi d’un vocabulaire commun renvoie en fait à des compréhensions variées et à des propositions formelles diverses. L’article prend aussi en compte la polyvalence des artistes comme élément dans l’étude des débats interprofessionnels et dans celle des stratégies d’adaptation des acteurs au système culturel soviétique. This article studies the discourses of the Bolsheviks, Soviet psychologists, pedagogues, doctors and artists regarding the definition of children’s images at the time of the First Five Year Plan (1928-1932). It lays out the functions attributed to children’s images and the different way in which these functions were defined and prioritized by the professions and, within, by individuals. The use of a shared vocabulary in fact reflected varied understandings and a diverse array of formal propositions. The article also takes into account the versatility of artists as a factor in studying inter-professional debates and the strategies of adaptation employed by the actors of the Soviet cultural system.

Kim są „nasi umarli”? To przedstawiciele zapomnianych dyscyplin, twórcy modeli myślenia uznanych za przestarzałe, porzuconych na ołtarzu teoretycznej i metodologicznej nowości, anachronicznych. Semiologia (nie tyle pikturalna, ile semiologia w ogóle, jako fragment przedsięwzięcia strukturalistycznego) jest obecnie – myślę tu o drugiej dekadzie xxi wieku, choć ta diagnoza dotyczy co najmniej kilkudziesięciu ostatnich lat – postrzegana jako projekt wyczerpany, a nawet niebezpieczny. Metoda, któ...

Żeby zrozumieć współczesny status dyskursów, których przedmiotem jest obraz, w szczególności studiów nad obrazami powstających we współczesnej humanistyce francuskiej, należy wziąć pod uwagę konsekwencje ewolucji historii sztuki: nie tylko jej wewnętrzne przemiany, ale też zewnętrzne wobec niej efekty redefiniujące pole humanistyki. Niezależnie od tego, co twierdzi się na temat współczesnego stanu tej dyscypliny, logika dokonujących się w jej ramach przekształceń była kluczowa dla używanych d...

Krytyczne rozszczepienie w łonie strukturalizmu, wykryte, a częściowo stworzone przez autora Études sémiologiques, nie sprawiło, że zerwał on z kierunkiem, którego esencję stanowiło wprowadzenie modelu językoznawczego do humanistyki jako całości. Mimo problemów, które ujawniła praktyka badawcza, Marin pozostał strukturalistą. Rzecz jasna, kryzys całego paradygmatu nie pozostał bez wpływu na to, co pisał autor Opacité de la peinture. Na skutek wewnętrznego napięcia między wymogami praktyki nau...

Wydana w 1993 roku książka Pouvoirs de l’image jest świadectwem ostatecznego przekształcenia francuskiej myśli o obrazie. Louis Marin nie tylko dystansuje się w niej wobec pytań zadawanych w ramach historii sztuki rozumianej jako naukowy projekt będący efektem adaptacji teorii de Saussure’a, lecz także wyciąga ostateczne konsekwencje z badań nad reprezentacją. Zadaje pytanie o obraz, przy czym odżegnuje się od rozpowszechnionego w myśli zachodniej przekonania o metafizycznej pośledniości tego...

Teoretyczna słabość historii sztuki i poznawcza nieefektywność studiów nad kulturą wizualną sprawiają, że obrazy pozostają dla nas wyzwaniem. Ikonofilia jest alternatywną perspektywą, w ramach której są one - w końcu - traktowane poważnie. Historia ikonofilii we francuskiej humanistyce (przede wszystkim w semiologii pikturalnej), służy do nakreślenia postulowanej przyszłości myśli o obrazie. Nie chodzi tu o tradycyjną prezentację dziejów pojęcia obrazu, ale o namysł nad różnymi strategiami rozumienia obrazu w humanistyce, których efektem jest teoria. A więc praca dotyczy problematyki obrazu jako fenomenu, który tworzy historię i teorię. (fragm. recenzji prof. Marty Leśniakowskiej) The theoretical weakness of history of art and the cognitive inefficiency of studies on visual culture cause images to remain a challenge for us. Iconophilia is an alternative perspective, within which they are (finally) taken seriously. The history of iconophilia in French humanities (in pictorial semiology in particular) serves the purpose of drafting the proposed future of the thought on images. It is not about a traditional presentation of the history of the notion of an image, but about reflecting on the various strategies of understanding images in the humanities, the effect of which is theory. This study, therefore, relates to the issue of image as a phenomenon, which writes history and theory. (excerpt from a review by Prof. Marta Leśniakowska)

Race is a social and global construct, for which Du Bois’s pioneering global color line theory has deepened our understanding on how the modern world operates under global systems of racialization. However, global color line theory does not explain why and how racializing systems could operate in colonial empires where the colonizers and colonized were considered the “same-race.” Puzzled by how the global color line works differently in perceived “same-race” colonial societies, this dissertation studies the racializing systems in Taiwan under Japanese imperial rule (1895-1945). Why and how did racializing systems change over time, causing the colony to turn from being inferior to the metropole at first and then becoming the “same race” with the colonizers at the end? To explain this puzzle, I propose two sets of research questions: Empirically, what did Japan do in Taiwan to establish and sustain a new racial order, and what is visible and invisible about this new racial order? Theoretically, why is the (in)visibility of the new racial order important for a perceived “same-race” colonial empire, Japan? These research questions on visibility of racial order necessitates my research method: I collected and analyzed the visual archives produced in Taiwan under Japanese colonial rule, including drawings, portraits, artwork, postcards, and mass media images. Speaking to existing theories in sociology of race, empires, and materiality, this dissertation argues that the Japanese Empire imported, utilized, and customized the racializing systems for maintaining colonial power by obscuring and redefining “race.” This main argument is broken down into three supporting points, discussed by the order of chapters of this dissertation. First, in Chapter Two, I show how “contouring systems,” meaning “the visual systems that binds and gives form to racialized same-ness and differences,” operated in replacement of white-versus-non-white “color line” in Taiwan under Japanese colonial rule. Contouring systems distributed in different times, domains of expertise, and historical contexts show how Japan customized its racializing systems in response to the Empire’s needs. Second, in Chapter Three, I argue that the Japanese Empire promoted a beauty-whiteness regime that paired together older colorism within pre-modern East Asian societies with modern ideas about “white is beautiful.” The Empire was able to promote this connection through female-bodied imagery that did not make the link between these aesthetic shifts and Japanese colonialism explicit. This new beauty-whiteness regime effectively pushed Taiwanese people, especially Han Taiwanese women, to strive for a sense of beauty and cultural supremacy aligned with the imperial project. Finally, in Chapter Four, I contend that the essence of Japanese imperial project changed from “rule of difference” to “rule of same-ness” after the outbreak of World War II. This wartime racializing project operated through inconsistent languages in the texts and images—which I call “intertextual inconsistency,” a mechanism which helped the ultimate integration of contouring systems for the purpose of war mobilization. This dissertation has three broader implications for sociological theories of race and empires, intersectionality, and methodology. First, this dissertation shifts the analytical focus from color lines to racialized contours and opens up a new sociological vantage point on race and empire. Second, this dissertation shows modernity is in and of itself intersectional, as evident in the visual representations of Han Taiwanese women, who were located at the intersections of multiple “lower-ranked” social positions—race and gender. Third, this research contributes to sociological methodology by reading data as intertextual—a combination of textual and visual languages. Showing that images are as powerful as texts in meaning-making, this dissertation forges ahead with an important future research agenda that reexamines existing text-heavy archival method. Contributing to studies of race, empires, intersectionality, and methodology, this dissertation shows why and how multiple global systems of racialization emerged, developed, and changed under the overlapping shadows of the Japanese empire, the birth of modern China, and the US empire in the late 19th to early 20th century, which is theoretically suggestive for future creative approaches to understanding global inequalities and differences.

U naslovljenom radu autor će sagledati odnos između popularne znanosti, suvremene kulture i novih oblika svakodnevnog života na razmeđi povijesnog razvoja i odgovora na globalnu zdravstvenu krizu koja je cjelokupni društveni život pogurnula u ono što ćemo u ovom radu postaviti kao tezu – kulturu vizualizacija. No i ona je sama djelom tehno-znanstvenog razvoja dvadesetog stoljeća iz tehnika promatranja ka znanosti slike i tzv. cyber-kulture. Da bi se kritički pristupilo razumijevanju suvremenog stanja stvari, medijska teorija razvijena na osnovama kritičke teorije društva i tehnologije postaje radikalno neadekvatna upravo zato što i veza između stvarnog života i njegove vizualizacije, između slike i svijeta efektivno ne postoji u općoj sve-jednosti integralnog prikaza zbilje kao čistog u-življavanja., In the proposed presentation we will concern ourselves with the relationship between popular science, contemporary culture and the new forms of daily life on the crossroads of historical development and the answer to the global health crisis that has pushed the social life into something that we will theme as our main thesis – the culture of visualizations. This culture itself is a part of techno-scientific development of the twentieth century from the so called technics of the observer and image science to the cyber-culture and so on. The contemporary state of affairs can not be critically understood on the basis of media theory that has been developed on the grounds of social theory and its critique of technology because the notion of existing relations between the real and the virtual, image and the world effectively disappears in the integral show of visualization.

The paper investigates mechanisms of removal and false memories in phototextual narratives. In particular, I will propose a typology capable of categorising the ways in which oblivion takes artistic form through various ways of excluding an image from the reader's field of vision. The photos thus leave an interpretative space for readers, who find themself in front of an enigmatic situation continuously questioned by the word., Il saggio indaga i meccanismi di rimozione e di false memorie nelle narrazioni fototestuali. In particolare si cercherà di proporre una tipologia in grado di categorizzare i modi in cui l’oblio prende forma attraverso varie modalità di esclusione di un’immagine dal campo visivo del lettore. Le foto lasciano, così, uno spazio interpretativo al lettore che si trova davanti a una situazione enigmatica continuamente interrogata dalla parola.

Review of Roberta Iadevaia, Per una storia della letteratura elettronica italiana (Mimesis, 2021)., Recensione di Roberta Iadevaia, Per una storia della letteratura elettronica italiana (Mimesis, 2021).

Ikonična slika Naste Rojc Autoportret u lovačkom odijelu iz 1912. je više puta u poslednje dve decenije bila proglašavana za njen „životni manifesto“ od strane istraživača/ica. Autorke i autori su naglašavali njene performativne, rodno fluidne autoportrete, i povlačili veze između drugih isto tako retkih umetnica tog vremena koje su izražavale ne-heteronormativne identitete kroz umetnost. Prema mojim saznanjima, sem Leonide Kovač, niko od njih do sada nije primenio metode studija vizuelne kulture u analizi ove slike. Vizuelna kultura može da ponudi nove interpretacije i dopuni rodne i feminističke diskusije kroz razmatranje popularne slike lovaca tog vremena. Ova saznanja mogu samo da potvrde uverenje da je ova slika snažan i transgresivan umetnički statement u kontekstu hrvatske umetnosti i umetnosti jugoslovenskog prostora u celini početkom 20. veka., One of the iconic paintings of Croatian artist Nasta Rojc (1883–1964), Autoportret u lovačkom odijelu [Self-portrait in a hunting suit] from 1912, has been praised by researchers in the past two decades as her “life manifesto”. Researchers have argued that her self-portraits are performative and gender fluid, and made connections with the other rare few artists of the time who communicated non-heteronormative identities. As far as I know, except for Leonida Kovač, none of them utilized a visual culture approach in analysing this painting. Visual culture studies can offer new interpretations and expand on the gender and feminist discussions by taking into consideration the image of the hunters that was popular at the time. These findings can only support the claim that the painting is a strong and transgressive artistic statement in Croatia and the Balkans at the beginning of the XX century. The introductory part of the paper describes the painting and draw correlations between the artwork and Rojc’s photographs and unpublished biography. Though undeniably performative, her self-portrait is an expression of her hobby, rather than an invented identity. This is followed by a short discussion on the popular image of hunters in the Germanic world, which takes into considerations postcards, genre paintings and portraits. This image is definitely patriarchal and masculine, and creates a backdrop for the subsequent discussion about women hunters or huntresses. Based on a couple of archival photographs from Croatia and popular postcards, women were presented as hunters, but their traditional image is either as supporters of men or part of the hunt as a love interest. There is also a brief note on huntresses in Croatia today. Going back to the title painting, I conclude that Nasta Rojc’s self-portrait is original and transgressive because she inserted a non-heteronormative subject into a conventional and traditional art historical scene, as her “life manifesto.”

O franco-monegasco Hercule Florence é conhecido por sua condição de artista viajante e inventor. Ele também é conhecido por ter inventado a fotografia na Vila de São Carlos, no Brasil, entre 1832 e 1833, inscrevendo-se assim na dinâmica das múltiplas invenções da fotografia no começo do século XIX. Este artigo faz um primeiro levantamento dos momentos em que Hercule Florence se tornou objeto de estudo, sobretudo para a história da fotografia no Brasil. Ou seja, entre as décadas de 1970 e 1980, quando se deu o processo de institucionalização da fotografia como campo de estudos no Brasil e na América Latina. The French-Monegasque travelling artist Hercule Florance is also known by his invention of photography in Vila de São Carlos, Brazil, between 1832 and 1833. Thus he was among the multiple isolated inventors of photography at the beginning of the 19th century. This article aims to a first reassessment of the different moments when his work was an object of attention for the history of photography in Brazil, especially between the 1970s and 1980s, when a remarkable process of institutionalization of these kind of studies took place in Brazil and Latin America. Le franco-monégasque Hercule Florence est connu pour sa condition d’artiste voyageur et inventeur. Il a été aussi le créateur de la photographie à Vila de São Carlos, au Brésil, entre 1832 et 1833, participant ainsi aux multiples inventions de la photographie au début du XIXe siècle. Cet article réalise un premier recensement des moments clefs où le travail de Hercule Florence est devenu objet d’étude, principalement pour l’histoire de la photographie au Brésil, entre les années 1970 et 1980. Une période coïncidant avec l’institutionnalisation de ce domaine d’étude au Brésil et en Amérique Latine.

Los inmigrantes brasileños son actualmente la comunidad de inmigrantes más grande de Portugal. Después de un período de desaceleración de esta ruta migratoria, desde mediados de la segunda década del siglo XXI, los datos estadísticos muestran que el número de entradas de inmigrantes brasileños documentados en Portugal mostró una tendencia de crecimiento. A raíz de este nuevo flujo, que ya ha sido interpretado como una tercera o incluso cuarta ola del flujo migratorio de Brasil a Portugal, se observa, al mismo tiempo, un creciente interés de los medios de comunicación brasileños y portugueses en producir contenido audiovisual en el que se representan estas migraciones y sus sujetos. En este trabajo se incluye, por un lado, el contexto del crecimiento de la inmigración brasileña en Portugal; y por el otro, el creciente interés de los medios de comunicación brasileños y portugueses en explorar el fenómeno. A partir de investigaciones empíricas previas, este artículo ofrece una reflexión más integral sobre la visualidad de los inmigrantes y los procesos migratorios. Así se inserta en un espacio de intersección disciplinar entre los Estudios Culturales, las Ciencias de la Comunicación y la Cultura Visual para discutir algunas tendencias observadas que apoyan las construcciones de la visualidad de los inmigrantes, como el cambio de agencia del discurso visual, la estructuración de las imágenes de acuerdo con los preceptos de visual storytelling y la configuración hiperrealista de las imágenes., Os migrantes brasileiros constituem, atualmente, a maior comunidade migrante em Portugal. Após um período de desaceleração desta rota migratória, a partir de meados da segunda década do Século XXI, os dados estatísticos mostram que o número de entradas de migrantes brasileiros documentados em Portugal começou a apresentar uma tendência de crescimento. Acompanhando esse novo fluxo, que já tem sido interpretado como uma terceira ou mesmo quarta vaga do fluxo migratório do Brasil para Portugal, observa-se, paralelamente, um crescente interesse da mídia brasileira e portuguesa em produzir conteúdos audiovisuais nos quais essas migrações e seus sujeitos são representados. É nesse contexto de crescimento da imigração brasileira em Portugal, por um lado; e o aumento do interesse das mídias brasileiras e portuguesas em explorar o fenômeno, por outro, em que se insere o presente trabalho. A partir de pesquisas empíricas anteriores, este trabalho visa oferecer uma reflexão mais abrangente sobre a visualidade dos migrantes e dos processos migratórios. Nesse sentido, inserindo-se em um espaço de interseção disciplinar entre os Estudos Culturais, as Ciências da Comunicação e a Cultura Visual, este artigo discute algumas tendências observadas e que suportam construções da visualidade dos migrantes, como a mudança de agenciamento do discurso visual, a estruturação das imagens segundo os preceitos do visual storytelling e a configuração hiper-realista das imagens., Brazilian immigrants are nowadays the largest immigrant community in Portugal. Aer a period of deceleration of this migratory route, from the mid-second decade of the 21st century, statistical data show that the number of entries of Brazilian immigrants documented in Portugal began to show a growth trend. Following this new flow, which has already been interpreted as a third or even fourth wave of the migratory flow from Brazil to Portugal, it is observed, at the same time, there is a growing interest of the Brazilian and Portuguese media in producing audiovisual content in which these migrations and their subjects are represented. It is in this context of the growth of Brazilian immigration in Portugal, on the one hand, and the increased interest of the Brazilian and Portuguese media in exploring the phenomenon, on the other, in which this work is included. From previous empirical research, this paper aims to offer a more comprehensive reflection on the visuality of migrants and migratory processes. In this sense, inserting itself in a space of disciplinary intersection between Cultural Studies, Communication Sciences and Visual Culture, this work discusses some observed trends that support constructions of the visuality of migrants, such as the change of agency of visual discourse, the structuring of images according to the precepts of visual storytelling and the hyperrealistic configuration of images., Este trabalho recebeu apoio da FCT — Fundação para a Ciência e a Tecnologia, I.P., no âmbito do POCH – Programa Operacional Capital Humano (POCH), por meio de uma Bolsa de Doutorado (SFRH/BD/137855/2018) e foi desenvolvido no âmbito do projeto “MigraMediaActs – Migrações, media e ativismos em língua#portuguesa: descolonizar paisagens mediáticas e imaginar futuros alternativos” (PTDC/COM-CSS/3121/2021), financiado por fundos nacionais através da FCT — Fundação para a Ciência e a Tecnologia, I.P.

The creation of the Norman kingdom of Sicily was complemented by the development of a unique court milieu encompassing elements from the Latin West, Byzantium, and the Islamic world. The churches of Palermo, in particular, became the focus of a sophisticated project of experimentation and combination of different artistic traditions, to convey an artificial image of equilibrium among élites and communities of three different denominations: Latin, Greek-Byzantine, and Arabo-Christian. Through the creation and subversion of architectural boundaries, the promotion of certain forms of visual hybridity, the transgression of artistic media, and the articulation of new liminal spaces, the Norman rulers transformed their churches and cathedrals into an ideal stage for performing their liturgy of kingship, and conveying the message of a multi-faceted religious system unified and harmonized only through the king, as supreme head of the Church and vicar of Christ.

Aquest treball de final de màster té com a objectiu principal la creació d'un spot publicitari per a englobar el contingut de la unitat didàctica "Organització, disseny i producció d'informació digital", inclosa a l'assignatura TIC (Informàtica) de 4t d'ESO. L'objectiu d'aquesta unitat és ensenyar als alumnes les diferents fases del procés de producció d'una campanya publicitària, des de la idea fins a la postproducció, i així capacitar-los per a crear les seves pròpies campanyes publicitàries. En aquesta memòria s'exposa la metodologia utilitzada per a la creació del spot publicitari, a través de la qual s'ajuda a millorar el treball i l'aprenentatge autònom dels alumnes, i sobretot, afavorir el desenvolupament de la seva creativitat. Un aspecte que en molts casos és deixat de banda en els centres educatius.

Ressenya del llibre: García Avilés, Alejandro, Imágenes encantadas. Los poderes de la imagen en la Edad Media, Vitoria-Gasteiz, Ediciones Sans Soleil, 2021., Book review: García Avilés, Alejandro, Imágenes encantadas. Los poderes de la imagen en la Edad Media, Vitoria-Gasteiz, Ediciones Sans Soleil, 2021., Reseña del libro: García Avilés, Alejandro, Imágenes encantadas. Los poderes de la imagen en la Edad Media, Vitoria-Gasteiz, Ediciones Sans Soleil, 2021.

Depuis les années 1920, les discours des publicités de produits menstruels sont rythmés par des normes stigmatisantes. Ces normes s’inscrivent dans un système paradoxal et contradictoire. Ainsi, Josefin Persdotter propose l’emploi du néologisme menstrunormativité, afin de dépeindre ce système qui différencie les bonnes menstruations des mauvaises. Dans les années 1960, divers.e.s artistes et activistes féministes s’approprient les discours menstruels afin de remettre en question les normes s’y trouvant. Au cours des années 2010, une révolution menstruelle et artistique émerge sur la plateforme Instagram et tend à transgresser la menstrunormativité, notamment par l’illustration. Sur Instagram, les marques de produits menstruels se réapproprient les discours féministes et partagent le travail d’illustrateur.rice.s tout en réitérant la menstrunormativité par la diffusion de normes contradictoires. Cette recherche met en lumière la rencontre complexe entre artistes féministes et marques de produits menstruels sur le média social. Ces artistes participent à la déconstruction des normes, tout en prenant part au paradoxe composant les comptes Instagram de ces marques. Au long de cette recherche, j’ai imaginé puis organisé un atelier de création avec une illustratrice féministe, créant principalement autour des menstruations. Cet atelier offrait à l’artiste un espace de réflexion autour des sujets traités par cette recherche, tout en illustrant la manière dont elle percevait l’art/illustration menstruel dans le contexte publicitaire. Ce mémoire tend à participer aux critical menstruation studies, en explorant les stratégies mobilisées par les artistes menstruel.le.s afin de subvertir la menstrunormativité., Since the 1920s, the discourses of menstrual product advertisements have been punctuated by stigmatizing norms. These norms are part of a paradoxical and contradictory system. Thus, Josefin Persdotter proposes the use of the neologism menstrunormativity, in order to depict this system that differentiates good menstruation from bad. In the 1960s, various artists and feminist activists appropriated menstrual discourses in order to question the norms found therein. During the 2010s, a menstrual and artistic revolution emerged on the Instagram platform and tended to transgress menstrunormativity, particularly through illustration. On Instagram, menstrual brands reappropriate feminist discourses and share the work of illustrators while reiterating menstrunormativity through the diffusion of contradictory norms. This research highlights the complex encounter between feminist artists and menstrual brands on social media. These artists participate in the deconstruction of norms, while taking part in the paradox composing the Instagram accounts of these brands. Throughout this research, I imagined and then organized a creative workshop with a feminist illustrator, creating primarily around menstruation. This workshop offered the artist a space to reflect around the topics addressed by this research, while illustrating how she perceived menstrual art/illustration in the advertising context. This dissertation aims to participate in critical menstruation studies by exploring the strategies mobilized by menstrual artists to subvert menstrunormativity., Mémoire en recherche-création

International audience; Vues d'optique (optical views) were highly popular in eighteenth-century Europe, and contributed to the dissemination and entrenchment of a shared imaginary visual conception of urban spaces. These topographical prints, intended to be viewed in an optical device that accentuated the perspectival effect of the engraved landscape, were both a form of entertainment in salons and a street attraction circulated by itinerant showmen. This article examines the way in which the palace and gardens of Versailles were represented in this particular genre of prints, by first questioning the specific production methods of the vues d'optique, particularly in their economic and formal dimensions. Many iconographic tropes used in these seem to have been borrowed from other sources, such as earlier engraved compositions created by the Perelle, Pierre Aveline and Jacques Rigaud. Documentary reliability does not appear to have been a determining criterion in the selection of sources, with authors favouring visual and spectacular effects. Rather than creating a new or original representation of Versailles, vues d'optique crystallized a stereotypical and canonical image of the palace and its gardens, leading to a standardised vision.; Connaissant un succès considérable dans l’Europe de la seconde moitié du xviiie siècle, la vue d’optique a contribué à la diffusion et à l’enracinement d’un imaginaire visuel partagé des espaces urbains. Ces estampes à caractère topographique, destinées à être visualisées dans un dispositif optique qui accentue l’effet perspectif du paysage gravé, forment à la fois un divertissement de salon et une attraction de rue, par l’intermédiaire de montreurs d’optique itinérants. On étudiera ici la façon dont le palais et les jardins de Versailles ont été représentés dans ce genre particulier d’estampes, en questionnant au préalable les modalités de production propres à la vue d’optique, notamment dans leurs dimensions économiques et formelles. Il apparaît que les schémas iconographiques employés sont de seconde main, et reprennent des compositions gravées antérieures, inventées par les Perelle, Pierre Aveline et Jacques Rigaud. La fiabilité documentaire n’apparaît pas comme un critère déterminant dans la sélection des sources : l’effet visuel et spectaculaire prévaut. Plutôt que de façonner une représentation nouvelle ou originale de Versailles, la vue d’optique cristallise une image canonique et stéréotypée du palais et de ses jardins, participant d’une normativité du regard.

First introduced by the German filmmaker Harun Farocki, the term operational images defines the expanding field of machine vision. In this study, media theorist Jussi Parikka develops Farocki’s initial concept by considering the extent to which operational images have pervaded today’s visual culture, outlining how data technologies continue to develop and disrupt our understanding of images beyond representation.Charting the ways that operational images have been employed throughout a variety of fields and historical epochs, Parikka details their many roles as technologies of analysis, capture, measurement, diagramming, laboring, (machine) learning, identification, tracking, and destruction. He demonstrates how, though inextricable from issues of power and control, operational images extend their reach far beyond militaristic and colonial violence and into the realms of artificial intelligence, data, and numerous aspects of art, media, and everyday visual culture.Serving as an extensive guide to a key concept in contemporary art, design, and media theory, Operational Images explores the implications of machine vision and the limits of human agency. Through a wealth of case studies highlighting the areas where imagery and data intersect, this book gives unprecedented insight into the ever-evolving world of posthuman visuality.

Due to its effect and importance in the structuring of the social subject, in this study, the characteristics of oral, written and visual culture -which is also interpreted as secondary oral culture- are classified. Popular television series and books published in Turkey between 2001-2006 were analyzed in this context. The ‘TV series boom’ experienced in Turkey between 2001 and 2006 has important signs to understand today's visual culture and today's middle age generation. When examined in depth, it is noticed that this culture, which developed under the influence of television, evaluates and consumes the elements of oral and written culture in the context of new cultural industries. As a result of the study, it has been seen that education and having a label are ways of developing and gaining social statues for people of oral culture, but these issues do not mean the same value for people of visual culture. During the watching process, the verbal and written cultural values being acquired and lost in a few minutes. Audience cannot establish the reward-cost relationship regarding these values, and experiences short-term satisfaction in a virtual world where process and effort are not seen. In oral culture, humor has been used as a way of thinking and as an element of criticism in written culture. Satires and critical programs that were transferred and inspired by the print media disappeared over time, the suggestive aspect of humor was forgotten, and program types which did not give the opportunity to think, emerged. As a result of the study, it has also been determined that the features of visual culture are no longer only found on television, but also in written culture products. The concepts twisted by visuality in books and novels that have become popular are processed with similar context and content.

Particularly motivated by the denial of science, the rejection that presides over fin-de-siècle sensibility can’t be fully suspected of maintaining close relations with it, even the most hidden ones. While many surveys and studies have, particularly in recent years, measured and analyzed the extent of the spreading of prehistoric imagination in popular culture and the avant-gardes, its reception by the symbolists and decadents, as if they were suspended in the blank space that separates academic art and modernisms, has only received very occasional interest so far. And for good reason, the exploitation by an elite culture of a popular material (because it is essentially described and spreaded in culture by popularization, academic painting and adventure stories), necessarily takes detours and must challenge. Therefore, the assumed rejection of any scientific discourse by these tendencies may have discouraged research from carrying out an epistemocritical examination of the symbolist and decadent body of work. However, these literary and artistic trends express a clear concern for the theme of origins, as a corollary to eschatological anxiety, the epistemic parameters of which should be identified. Well-considered or deliberately excluded, the latest scientific data on the question of the origins of man and living, whether they come from evolutionary biology or prehistoric anthropology, cannot be ignored as they circulate in popular culture. At that time a current discipline, although primitive as far as its object of investigation is concerned, prehistoric archaeology imposes itself as an equivocal discourse, between modernity and impossible nostalgia, which inspires many paradoxes. Once the acknowledgment of the massive nature of its dissemination acknowledged and supported, it is indeed appropriate to ask what is at stake, on the poetic, aesthetic and ideological levels, in the renewal of this knowledge in an anti-scientific culture, but also in the transfer of a popular subject to elite productions. Decadence, by marrying artificialism and primitivism, but also by associating the theme of the end of the world or of civilization with the theme of the dawn of time, invites us to explore the regimes of temporalities that these authors and artists conceive. This examination of the treatment of the prehistoric theme by the Decadents, whether it is based on the fantasy of a golden age or a fierce age, therefore makes it possible to specify its aesthetic, poetic and philosophical outlines. But it also leads us to guess their ideological specificities, insofar as these productions systematically put in crisis the ascending, progressive temporality, which is nevertheless deployed in the popular prehistoric imagination. Among the Symbolists, these ideological specificities are more difficult to identify, as its protagonists shift their political aversions towards a reinvestment of the fantasy genre, mythology and spirituality. Prehistoric archaeology then provides the imagination with motifs, themes and figures which supply their own mythology, no matter if they’re linked to a pre-existing intertext, and how. The exploitation of this scholarly material therefore paradoxically encourages the expression of idealism, the impetus towards transcendence and magical thinking, but also inspires reverie, more or less scientifically informed, about the origin of language, poetry and all creation. Thus, the break may seem clear between these mystical aspirations and the primitivism of the avant-gardes of the beginning of the 20th century. However, symbolism may be a protagonist of this shift from the man with the cludgel to the man with the paintbrush, from the representation of prehistoric man to the imitation of his example. By examining their appropriation of a scientific subject, this work also highlights the permeability of the supposed borders between decadentism and symbolism, but also between them and the primitivist groups.; Particulièrement motivé par le rejet de la science, le mouvement de réaction qui préside à la sensibilité fin-de-siècle se voit peu soupçonné d’entretenir avec elle des relations étroites, fussent-elles souterraines. Alors que de nombreuses initiatives et études ont, particulièrement ces dernières années, mesuré et analysé l’ampleur de la diffusion de l’imaginaire préhistorique dans la culture populaire et les avant-gardes, son innutrition par les symbolistes et décadents, comme suspendus dans le vide qui sépare l’art académique et les modernismes, n’a jusqu'ici été abordé que très ponctuellement. Et pour cause, l’exploitation par une culture élitaire d’un matériau populaire car essentiellement décrit et diffusé par la vulgarisation, la peinture salonnière et les récits d’aventure, emprunte nécessairement des voies détournées et doit interpeller. À l’avenant, le rejet affiché de tout discours scientifique par ces tendances a pu décourager la recherche de mener un examen épistémocritique du corpus symboliste et décadent. Pourtant, ces mouvances littéraires et artistiques expriment une préoccupation manifeste pour la thématique des origines, corollairement à l’angoisse eschatologique, dont il convient de cerner les paramètres épistémiques. Prises en compte ou délibérément écartées, les dernières données scientifiques sur la question des origines de l’homme et du vivant, qu’elles émanent de la biologie évolutionniste ou de l’anthropologie préhistorique, ne sauraient être ignorées tant elles circulent dans la culture populaire. Alors actuelle en tant que discipline et primitive par son objet d’investigation, la préhistoire s’impose comme un discours équivoque, entre modernité et impossible nostalgie, qui inspire bien des paradoxes. Le constat du caractère massif de sa diffusion posé et étayé, il convient en effet de se demander ce qui se joue, sur les plans poétique, esthétique et idéologique, dans la reconduction de ce savoir dans une culture anti-scientifique, mais aussi dans le transfert d’un sujet populaire vers les productions élitaires. La décadence, en appariant artificialisme et primitivisme, mais aussi en associant la thématique de la fin du monde ou de la civilisation à celle de l’aube des temps, nous invite à explorer les régimes de temporalités que pensent ces auteurs et artistes. Cet examen du traitement de la thématique préhistorique par les décadents, qu’il repose sur le fantasme d’un âge d’or ou d’un âge farouche, permet donc d’en préciser les contours esthétiques, poétiques et philosophiques. Mais il permet aussi d’en deviner la singularité idéologique, dans la mesure où ces productions mettent systématiquement en crise la temporalité ascensionnelle, progressiste, pourtant déployée dans l’imaginaire préhistorique populaire. Chez les symbolistes, ces spécificités idéologiques sont moins aisément repérables, tant ses protagonistes déplacent leurs aversions politiques vers un réinvestissement du merveilleux, de la mythologie et de la spiritualité. La préhistoire pourvoit alors l’imaginaire en motifs, thèmes et figures qui, accostant ou non un intertexte préexistant, nourrissent une mythologie propre. L’exploitation de ce matériau savant encourage donc paradoxalement l’expression de l’idéalisme, la tension vers la transcendance et la pensée magique, mais aussi à inspirer les rêveries, plus ou moins informées scientifiquement, portant sur l’origine du langage, de la poésie et de toute création. À cet égard, la rupture peut paraître nette entre ces aspirations mystiques et le primitivisme des avant-gardes du début du XXe siècle. Pourtant, le symbolisme n’est pas étranger à ce glissement de l’homme au gourdin vers l’homme au pinceau, de la représentation de l’homme préhistorique à l’imitation de son exemple. Par l’analyse de leur appropriation d’un sujet scientifique, ce travail fait également valoir la perméabilité des frontières entre décadentisme et symbolisme, mais aussi entre ce dernier et les écoles primitivistes.

The climate crisis has inspired youth-led activism across the world and young people now lead global campaigns and political protest on climate justice. However, aside from news media coverage of youth activism and the attendant focus on young people’s hand-drawn protest placards, relatively little is known about young people’s views on the actions needed to respond to the climate crisis or how they imagine environmentally-sustainable futures. This visual essay addresses that lacuna by exploring young people’s ideas about local climate actions. The images selected for consideration were created using Minecraft, the 3D block-building visualisation game, at workshops held in Ireland. Young people and their families were invited to create environmentally-sustainable futures at Minecraft workshops. Exploring these 3D designs as images, the essay documents young people’s visual representations of desirable climate actions and reflects on these Minecraft images to shed light on how young people envision alternative climate futures. These collective visions, or climate imaginaries, are powerful indicators of what young people imagine is possible in the future. In doing so, they present an alternative to the mainstream news and entertainment media preoccupation with dystopian constructions of the climate crisis. They also highlight the power of Minecraft as a visual medium to open up new ways of seeing nature and of envisioning nature-society relations. The selected images were also exhibited as part of the CLIMATE Look Lab 2022 held at the Open Eye Gallery, Liverpool. The gallery invited researchers, community groups and artists to use the gallery as a lab space to engage visitors with our changing environment and to explore how images can change the visual narrative on climate change.

Ai Weiwei positions himself first and foremost as a thinker, driven by curiosity and even selfishness, and not shying away from ridicule. Through immersion and direct response to different, unfamiliar conditions, he aims to defamiliarize pre-set thinking, not letting himself be trapped by rationality and led by simplified, predetermined conclusions about the world. Despite the self-proclaimed selfishness at their core, Ai’s artistic acts become selfless through resonance, inviting the viewer into his thought experiments with the world, which he engages with as if the world were a readymade. This conversation departed from the transnational film Tree (2021), where Ai meticulously documents the work of Brazilian and Chinese artisans in creating his 32-metre iron sculpture Pequi Tree (2018–2020). We began with political curiosity as a creative driver for the artist, the influence of Duchamp and Warhol, and the choice of the audiovisual medium to reflect reality. The conversation branched out to consider aesthetics, tying the issue of aestheticization to Ai’s role as a public intellectual, from an earlier refusal of aesthetics or ‘beautification’ in the interest of unmediated transparency to the realization that new aesthetics are needed for new publics.

This paper intends to present the work done during the Summer School Tran(s)missions that took place in synchronous and asynchronous form from 10 to 19 September 2021 at the Department of Humanities, University of Roma Tre. The course, presented in collaboration with the Virtual Humanities Lab of Brown University, was attended by 13 students, including researchers, artists, curators, library science specialists, engineers, and technical archivists conducting interdisciplinary studies in the field of Italian Studies and visual culture, opening up their own perspectives to investigation the relationship between word and image, visual culture, media studies, material culture studies, film studies, digital storytelling, creative writing, digital and public humanities, visual arts, art history, history, and computer science.

Karlo Dieneš, an amateur photographer and pharmacist from Nova Gradiška, left us with a valuable collection of photographs which offers plenty of research opportunities. This research focuses only on their social role. In this paper, we ask three questions: what motifs did he photograph and to what had he aspired in doing so, how did photographs and photography impact his social connections and status, and, finally, how could he present them to the public and thus influence the visual culture of his era., Amaterski fotograf i novogradiški ljekarnik Karlo Dieneš ostavio je vrijednu zbirku fotografija koja nudi široke istraživačke mogućnosti. U ovom smo se istraživanju ograničili samo na njihovu društvenu ulogu. Pri tome smo postavili tri pitanja: koje motive je fotografirao i što mu je u tome bio uzor; kakav je bio utjecaj fotografija i fotografiranja na njegove društvene veze i status; te na koje ih je načine mogao predstaviti javnosti i time utjecati na onodobnu vizualnu kulturu.

Feminist film scholarship has rehabilitated costume by correcting the view that it is a frivolous, feminized element of filmmaking, arguing instead that dress establishes historical and geographic context. Despite these interventions, little research has explored costume from non- Western cinemas, nor have scholars addressed how both the intersections of gender and race have influenced the ‘fashioning’ of onscreen subjectivities. These are not irrelevant considerations, given the historical link between the expansion of Western textile production and the extraction of resources from formerly colonised territories, particularly the African continent, which remains an attractive destination for cheap, often female manufacturing labour. My doctoral thesis brings these geopolitical and feminist concerns into interdisciplinary conversation with film studies, by taking up the complex imbrications of clothing, race and gender, and considering the unexamined possibilities that material culture presents for African postcolonial cinematic authorship. Comprised of analyses of the work of female filmmakers Claire Denis, Julie Dash, Wanuri Kahiu and Zina Saro-Wiwa, I argue that their richly haptic, textillic works highlight the filmic image as a materially ‘fashioned’ medium, through which African/Afro-diasporan peoples’ entanglements with globalized (neo)coloniality have been sensually remediated for the screen. Combatting the marginalization of African women in cinema studies, as well as the broader devaluation of women’s aesthetic practices, I demonstrate that the neglected cultural contributions of African/Afro-diasporic female filmmakers should be reconsidered, with an eye turned towards the highly politically expressive field of dress and its material cultures., Gates Cambridge Scholarship

Extending the scholarly discussion of visual history, this book examines eighteenth-century engraved book illustrations in order to outline the genealogy of the modern visualisation of the past in Britain.

With social media image analysis, one collects and interprets online images for the study of topical affairs. This analytical undertaking requires formats for displaying collections of images that enable their inspection. First, we discuss features of social media images to make a case for studying them in groups (rather than individually): multiplicity, circulation, modification, networkedness, and platform specificity. In all, these offer reasons and means for an approach to social media image research that privileges the collection of images as its analytical object. Second, taking the 2019 Amazon rainforest fires as a case study, we present four visual models for analyzing collections of social media images. Each visual model matches a distinctive spatial arrangement with a type of analysis: grouping images by theme with clusters, surfacing dominant images and their engagement with treemaps, following image trends with plots, and comparing image rankings across platforms with grids.

Se realiza un análisis de ciertas imágenes heterogéneas que han conformado un imaginario insoslayable en la mentalidad y en el devenir histórico venezolano. Partiendo del estudio de una instalación artística, se plantea un cuerpo teóricometodológico que demuestra dos aspectos fundamentales: el uso democratizado de imágenes heterogéneas (cultura visual) y la posibilidad de estructurar un relato histórico (montaje) que expone cómo las imágenes en cuestión están altamente imbricadas, proyectadas y estructuradas como un relato histórico, visual y vivencial con significativas consecuencias. El artículo demostrará la importancia de construir un instrumental interpretativo de imágenes generadas en la urgencia. An analysis is made of certain heterogeneous images that have shaped an unavoidable imaginary in the Venezuelan mentality and historical development. Starting from the study of an artistic installation, a theoretical-methodological body is proposed that demonstrates two fundamental aspects: the democratized use of heterogeneous images (visual culture) and the possibility of structuring a historical story (montage) that exposes how the images in question are highly interwoven, projected and structured as a historical, visual and experiential story with significant consequences. The article will demonstrate the importance of constructing an interpretative instrumentation of images generated in the urgency. 145-173 Escuela de Historia gomezbalza@gmail.com Semestral presenteypasado.histora@gmail.com

A Nigerian medical student went viralwhen he shared an illustration of a black pregnant woman. The image stirred up emotions as people realized they had never seen this kind of image of someone of colour. SciFair PhD student Gitte Samoyreflects on this 'new' insight.

Architects not only produce images of their projects but also take pictures of the reality around them, eventually appropriating of pictures made by others. In particular, this process of mediated assimilation of reality is quite hard to define as it follows many different criteria that tend to turn the pictures themselves into analogical devices oriented to the design development. Often, a fundamental step of the process is to make them wordless images by removing (intentionally or not) the caption. This action opens the pictures to a wide range of interpretations and uses (as well as misinterpretations and abuses) that are part of the omnivorous creative process of the architects. In order to frame the phenomenology of this process in the extended field of the 20th century art production, this article proposes a chaotic assemblage of major and minor episodes whose considerations indirectly reflects both the mostly unconscious process of the architects and the ‘under-construction’ mental scheme of the author. In this sense, this early, partial, subjective map provides no answers but questions and conjectural work-areas to be tested through further connections and developments., img journal, No. 7 (2022): Wordless Images

As the European Journal of Theatre and Performance is now steadily growing into a bi-annual publication, we are proud to present this fifth issue as a result of our first open call for contributions. From now on, we will alternate between one specially themed and one general issue per year and authors will have the possibility to submit scholarly articles for future issues on a continual basis. Although no thematic focus was intended, unexpected convergences did emerge between the different contributions for this issue’s Essays section. The four contributions all engage with memory, the body, and the archive in their various intertwinements. It seems that the urge for searching and understanding how ‘performing remains’ (Schneider 2011) has only been growing in recent years, not only in theatre and performance practices all over the world but also in scholarship.

The paper is divided into two main aims. In the first part, it wants to investigate the presence of thermal imaging in the context of contemporary visual culture, especially during the Covid-19 pandemic, when thermal imaging widely demonstrated how currently optics models of vision are increasingly accompanied by thermal models of visualisation. The result of the latter is thermography: at the same time, a process that transforms our epistemic relationship with reality, extending the possibilities of visualising information beyond the limits of the visible spectrum; and an image that maintains the indexical bound with its referent, but that is conceived as the outcome of an elaborated and displayed dataset. In the second part, the paper focuses on the artistic field in which thermal vision gained further relevance in the context of the pandemic. On the one hand, the artists have criticised and deconstructed it; on the other hand, they have relaunched its use in a biopolitical horizon, such as in the case of the photographic project Virus (2020), in which Antoine d’Agata roamed the deserted streets of Paris and visited some intensive care units with a thermal camera, during the first national lockdown in 2020.

Connaissant un succès considérable dans l’Europe de la seconde moitié du xviiie siècle, la vue d’optique a contribué à la diffusion et à l’enracinement d’un imaginaire visuel partagé des espaces urbains. Ces estampes à caractère topographique, destinées à être visualisées dans un dispositif optique qui accentue l’effet perspectif du paysage gravé, forment à la fois un divertissement de salon et une attraction de rue, par l’intermédiaire de montreurs d’optique itinérants. On étudiera ici la façon dont le palais et les jardins de Versailles ont été représentés dans ce genre particulier d’estampes, en questionnant au préalable les modalités de production propres à la vue d’optique, notamment dans leurs dimensions économiques et formelles. Il apparaît que les schémas iconographiques employés sont de seconde main, et reprennent des compositions gravées antérieures, inventées par les Perelle, Pierre Aveline et Jacques Rigaud. La fiabilité documentaire n’apparaît pas comme un critère déterminant dans la sélection des sources : l’effet visuel et spectaculaire prévaut. Plutôt que de façonner une représentation nouvelle ou originale de Versailles, la vue d’optique cristallise une image canonique et stéréotypée du palais et de ses jardins, participant d’une normativité du regard. Vues d'optique (optical views) were highly popular in eighteenth-century Europe, and contributed to the dissemination and entrenchment of a shared imaginary visual conception of urban spaces. These topographical prints, intended to be viewed in an optical device that accentuated the perspectival effect of the engraved landscape, were both a form of entertainment in salons and a street attraction circulated by itinerant showmen. This article examines the way in which the palace and gardens of Versailles were represented in this particular genre of prints, by first questioning the specific production methods of the vues d'optique, particularly in their economic and formal dimensions. Many iconographic tropes used in these seem to have been borrowed from other sources, such as earlier engraved compositions created by the Perelle, Pierre Aveline and Jacques Rigaud. Documentary reliability does not appear to have been a determining criterion in the selection of sources, with authors favouring visual and spectacular effects. Rather than creating a new or original representation of Versailles, vues d'optique crystallized a stereotypical and canonical image of the palace and its gardens, leading to a standardised vision.

Using case studies that range from the eighteenth to the twenty-first century in literature, photography, performance, and museums, this thesis examines how the white gaze has shaped commemorative representations of slavery and racial violence. Through mapping how visual representational tropes have rendered the Black body in pain a passive receptacle of violence to accommodate an audiences’ emotional engagement, I argue that the foundation of commemorative practice’s focus lies within white western notions of pain, power, and the body, which ultimately risks obfuscating African American lived and historical experience. Fundamentally, this study also considers how Black authors, artists, and activists have worked to respond to and challenge these representations. I begin with an explication of how anti-slavery authors and artists in the late eighteenth and nineteenth centuries perpetuated white modes of looking at Black pain, before proceeding to trace the thread of representations following slavery and abolition that focus primarily on Black pain to emotionally engage with audiences. I interrogate photographic representations of slavery and racial violence, including the famous image of “Gordon” and his scarred back, James Allen and John Littlefield’s Without Sanctuary collection, and the work of African American photographer J.P. Ball. I also examine reenactment performances including Colonial Williamsburg’s 1994 reenacted slave auction, Conner Prairie’s ‘Follow the North Star’ programme, Dread Scott’s ‘Slave Rebellion Reenactment’, and the Moore’s Ford lynching reenactment. This research draws from observational research conducted at key museum and memorial sites, including the Whitney Plantation (2014), the Smithsonian’s National Museum of African American History and Culture (2016), and the Equal Justice Initiative’s National Memorial to Peace and Justice and Legacy Museum: From Enslavement to Mass Incarceration (2018). As the most recently established sites, these institutions provide an illuminating record of how far commemorative practice has come, and hint at new directions for its future. Ultimately, I advocate for commemorative sites to establish and prioritise explicit connections between slavery, the foundation of the US, and the impact of racial violence on present-day racial inequality. To do so, I highlight the importance of how commemorative sites in the present can draw inspiration from Black embodied acts of counter-narrative production to re-humanise their historical representations of Black enslaved and Black suffering bodies and free them from the constraints of the white gaze.

This thesis examines the meanings embedded in political visual displays that pervade public spaces in the Islamic Republic of Iran, particularly focusing on the city of Saveh in Markazi province. Although visual culture is often overlooked, this study argues that it plays a crucial role in shaping societal beliefs and values. In the context of Iran, where the Islamic regime controls visual culture, this thesis aims to unravel the connection between political messages conveyed through visual materials and the wider ideological framework of the Islamic regime. To accomplish this, a wide range of visual materials, such as monuments, flags, banners, murals, and naming panels found in the streets and public spaces of Saveh, were gathered and analyzed. Semiotics was utilized as the analytical method to identify significant textual and visual signs within each image, and to interpret their conventional meaning. The findings indicate that these visual materials primarily strive to foster religious devotion towards the Twelve Shia Imams and uphold the legacy of the 1979 Islamic Revolution. By associating key concepts with the ideological foundations of the Islamic regime, the visual materials serve as a powerful tool to reinforce the regime’s ideology and legitimize its authority. Furthermore, this thesis explored the politics of memory as a mechanism that promotes preferred meanings of visuals and perceptions among the audience. Nonetheless, it acknowledges that the actual impact of political visual demonstrations can only be validated through further research on audience reception and viewer perception. I also examined the role of streets as a political locus, integrating political visual messages into people’s everyday lives. In last part of the analysis chapter, I explored the concept of peace, revealing how both positive and negative aspects of peace are visualized within the context of Iran. However, a contextual understanding of contemporary Iran suggests that the invisibility of violence and the portrayal of a peaceful society through visuals do not guarantee the absence of violence within society. By examining the semiotics of Iran's visual culture, this study not only illuminates the dynamics of the aesthetics of power as an influential tool to enact state power and ideologies within society but also offers insights into the complex interplay between visual materials and political messaging.

In this essay, the notion of “the people behind the scenes” is used to build a bridge between the cognitive framework of film studies and migration research to describe those who are discursively categorized as “illegal” or “irregular” migrants and whose lives are exploited in the workforce and at risk in “Fortress Europe”. As a natural southern border of the Schengen area, the Mediterranean region sometimes offers fleeting encounters between “illegal” migrants excluded by this border regime and foreign travellers courted by the tourism industry. These ephemeral juxtapositions of people with contrasting political and economic stakes create what we call “visual clashes”, gathering in one frame antithetical human lived experiences of this maritime area. Drawing on Nicholas Mirzoeff’s concept of the “right to look”, which the visual culture theorist and activist uses as a bulwark against a dominant Western regime of visuality, this essay analyses a series of visual texts that bear witness to unwanted encounters by this dominant regime’s visual system of classification and separation. The essay examines two press photographs and television images alongside Elleke Boehmer’s short story “Synthetic Orange”, and analyses a cartographic experiment and a film; each case opposes the authority of Western visuality and makes a claim for the autonomy of the right to look.

Roman ve sinema birbirinden ayrı iki form gibi görünse de kaynak olarak birbirini destekleyen formlardır. Roman dil olarak sözcükleri kullanırken sinema daha çok ses ve görsel dili kullanmaktadır. Kültürel olarak düşünüldüğünde her iki sanat dalı da kültürel ögeleri iletme gayesi taşımaktadır. Bu çalışmada Mutluluk romanının yazınsal diliyle sinemaya uyarlanmasında ortaya çıkan görsel dil karşılaştırılmıştır. Zülfü Livaneli tarafından 2002 yılında yayımlanan Mutluluk romanı kısa sürede birçok dile çevrilmiştir. Roman 2006 yılında Barnes & Noble tarafından düzenlenen ―Yeni Büyük Yazarları Keşif Ödülü ‖nü almaya hak kazanmıştır. Mutluluk aynı isimle 2007 yılında Abdullah Oğuz yönetmenliğinde sinemaya uyarlanmıştır. Film yaklaşık olarak 123 dakika sürmektedir. Mutluluk filmi 2007 Antalya Altın Portakal Film Festivali‘nin ulusal uzun metrajlı film yarışmasında aday gösterilmiştir. Mutluluk romanı ve Mutluluk sinema filmi içerik olarak birbiriyle paralellik taşımaktadır. Uyarlama sinema filmi eserlerinde kaynak bir edebi eser olduğu için genellikle seyircide heyecan ve merak duygusu uyandırmak güçtür. Mutluluk filminde içerik, roman ile paralellik taşısa da içerikte yapılan bazı değişiklikler ile seyircide merak duygusu yaratılmaya çalışılmıştır. Romanda ve filmde töre gereği öldürülmek üzere olan bir kadının hayatındaki değişim anlatılmıştır. Romanda kurban seçilen Meryem ve celladı olan Cemal arasında bir aşk yok iken filmde Cemal‘in Meryem‘e âşık olması esere heyecan katmıştır. Bu çalışmada kültürün önemli taşıyıcısı olan romanın sinemaya uyarlanmasında ortaya çıkan görsel dil; görsel kültür ve göstergebilim açısından incelenmiştir. Although novel and cinema seem to be two seperate forms, they are forms that support each other as a source. While novel uses words to communicate with the audience, cinema uses sound and visual language. When considered culturally, both of these branches of art have the aim of conveying cultural elements. In this study, literary language of novel ‗Bliss‘ is compared to the visual language of it that emerges from the adaptation to cinema. Bliss, by the author Zülfü Livaneli, was published in 2002 and translated into many languages in a short period of time. The novel was qualified to receieve Barnes & Noble Discover Great New Writers Award in 2006. Bliss, with same title, was adapted into a movie which was directed by Abdullah Oğuz in 2007. The running time of the movie is 123 minutes. Bliss was nominates for National Feature Film Award in Antalya Golden Orange Film Festival in 2007. Bliss, both novel and film, have similarity in content. In movie adaptations, it‘s generally difficult arouse curiosity and excitement in audience because the source is a literary work. Although the content in the film ‗Bliss‘ has similarity with the novel, audience engagement in film was aimed with some changes made. In the movie and the novel, the story of changes in a woman‘s life who is about to be murdered because of customs is told. While there is no romantic connection between Meryem,the victim, and her killer in the novel, the fact that Cemal falls in love with Meryem makes the film more thrilling. In this study, visual language which emerges from the movie adaptation of novel which is a crucial bearer of culture, is studied with visual culture and semiotics point of view.

The illicit diffusion of intimate photographs or videos intended for private use is a troubling phenomenon known as the diffusion of Non-Consensual Intimate Images (NCII). Recently, it has been feared that the spread of deepfake technology, which allows users to fabricate fake intimate images or videos that are indistinguishable from genuine ones, may dramatically extend the scope of NCII. In the present essay, we counter this pessimistic view, arguing for qualified optimism instead. We hypothesize that the growing diffusion of deepfakes will end up disrupting the status that makes our visual experience of photographic images and videos epistemically and affectively special; and that once divested of this status, NCII will lose much of their allure in the eye of the perpetrators, probably resulting in diminished diffusion. We conclude by offering some caveats and drawing some implications to better understand, and ultimately better counter, this phenomenon.