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This article addresses what kind of learning-teaching process should be applied to teach visual culture teaching in the Special Teaching Methods II course given as part of the visual arts teacher education program in Turkey. The study was designed with action research which is, one of the qualitative research methods using a two-step process. The first step was achieved with the participation of 24 preservice art teachers in a state university. In the second step, four volunteers were selected from among the participants of the first step and their process of implementing lesson plans in a visual arts course of a secondary school was examined. Data were obtained from observations, document analysis, and interviews which were then analyzed inductively. This paper focuses on four themes that emerged from the analysis of the data: realize, practice, relate and experience. In the study, it was concluded that preservice teachers develop awareness of how visual culture shapes meaning, shows willingness to raise awareness of society by drawing attention to social problems in their artistic work, and that their lesson plans effectively reflect their achievements regarding visual culture studies. © 2021 Informa UK Limited, trading as Taylor & Francis Group.

Part One: Methodological Issues 1. Introduction (Michael Stausberg and Steven Engler) 2. Comparison (Michael Stausberg) 3. Epistemology (Jeppe Sinding Jensen) 4. Feminist methodologies (Mary Jo Neitz) 5. Research design (Wade Clark Roof) 6. Research ethics (Fred Bird and Laurie Lamoureux Scholes) Part Two: Methods 1. Content analysis (Robert H. Woods and Chad Nelson) 2. Conversation analysis (Ehsa Lehtinen) 3. Discourse analysis (Titus Hjelm) 4. Document analysis (Grace Davie and David Wyatt) 5. Experiments (Justin Barrett) 6. Facet theory methods (Erik Cohen) 7. Factor analysis (Kendal C. Boyd) 8. Field research: participant observation (Graham Harvey) 9. Free listing (Michael Stausberg) 10. Grounded theory (Steven Engler) 11. Hermeneutics (Ingvild Saelid Gilhus) 12. History (Jorg Rupke) 13. Interviewing (Anna Davidsson Bremborg) 14. Network analysis (jimi adams) 15. Phenomenology (James V. Spickard) 16. Philology (Einar Thomassen) 17. Semiotics (Robert A. Yelle) 18. Structuralist methods (Seth D. Kunin) 19. Structured observation (Michael Stausberg) 20. Surveys and questionnaires (Barry A. Kosmin and Juhem Navarro-Rivera) 21. Translation (Alan Williams) 22. Videography (Hubert Knoblauch) Part Three: Materials 1. Auditory materials (Rosalind I.J. Hackett) 2. Internet (Douglas E. Cowan) 3. Material culture (Richard M. Carp) 4. Spatial methods (Kim Knott) 5. Visual culture (John Harvey)

Museum Innovation encourages museums to critically reflect upon current practices and adopt new approaches to their civic responsibilities. Arguing that museums have a moral duty to perform, the book shows how social innovation can make them more equitable, relevant and impactful institutions. Including contributions from a diverse group of international scholars, practitioners and researchers, the book investigates the innovative approaches museums are taking to address contemporary social issues. The volume focuses on the concept of social innovation and individual chapters address a range of crucial issues, such as climate change;the COVID-19 pandemic;diversity and inclusion;the travel ban;and the repatriation of museum collections. Exploring the impact that organizational structures have on museums' aspirations to act as agents for social change, the book also unpacks how museums can establish sustainable relationships with minority communities. Proposing steps that museums can take to affirm their relevance as viable community partners, the book breaks down silos and connects ideas across different areas of museum work. Museum Innovation explores the role of contemporary museums in society. It is essential reading for academics, students and practitioners working in the museum and heritage studies field. The book's interdisciplinary nature makes it also an interesting read for those working in business studies, digital humanities, visual culture, arts administration and political science fields. © 2021 selection and editorial matter, Haitham Eid and Melissa Forstrom;individual chapters, the contributors.

This chapter looks at the representational strategies applied to ageing femininities in popular media content. Although ageing femininities generally remain invisible in popular television fiction, the past decade we have seen a trend of increasing fictional content representing women of age. In the body of work on ageing femininities in popular culture, most research has considered representations in television content, fiction and advertising. Popular visual culture seems to have represented ageing femininities more often in recent years, but as studies have shown, the contemporary popular media space still lacks diversity and has only a limited set of stereotypes. Representations of ageing femininities in popular culture – particularly visible, embodied representations – have a limited set of articulations. As Justine Coupland pointed out, contemporary popular culture has articulated new ideologies and representations of ageing embedded in a commercialised discourse promoting a certain ‘look’ for ageing.

This chapter explores the ways in which institutional policies and practices that generally define the production of advertising films have also informed certain British colonial film productions such educational films as well as amateur, travelogues, and missionary films that are now generally studied within the wider ideological and stylistic cannons of the Empire Cinema genre. The ubiquitous promotional campaigns across the British Empire and beyond have been directly and unrelentingly attending to the imperial audiences’ expectation of specific normative cultural representations - a visual literacy drawing on promotional strategies and product-placement policies also present in the case studies explored here alongside Empire Marketing Board productions. Apart from David Ciarlo’s detailed discussion of various media records considered as effective means of advertising the German Empire, current scholarship addressing this theme within the British imperial visual culture is still seldomly and only succinctly addressed. Thus, it could be argued that this chapter presents perhaps the first detailed analysis of several British colonial films that mirror the traditional aesthetic guidelines and standardized production policies specific to the British imperial advertising and consumer culture.

This is volume one in a four-volume edition of primary source materials that document the histories of design across the long nineteenth century. Each volume is arranged by appropriate sub-themes and it is the first set of primary sources to be gathered together in this comprehensive and accessible format. Design refers to more than simply products and personalities or even cultural ideas, it involves consideration of ways of design thinking and applications as well as the philosophies and the other disciplines that impinge upon it. Here, the first volume discusses the theories and discourses that underpinned nineteenth-century design, ranging from design reform to aesthetics, and from the question of ornament to design education. The volumes will be of interest to a range of scholars and students, including those in art and design history, visual culture, and nineteenth-century material culture. They will also be of interest to a broad range of scholars working in areas including aesthetics, gender, politics and philosophy.

One night during the reign of Emperor Wen of the Sui Dynasty, a man walked out of his home to look for the baby he heard crying his backyard. The man was soon joined by his family and neighbors as they all searched, in vain, for the wailing child that screamed through their Shangdang hometown. The rise of commercialism, commodification, and connoisseurship in the late Ming and early–mid-Qing has been widely treated in recent years, and the story of ginseng could be written as one of many object histories in this expanding literature of the material and visual culture of early modern China. Scholarship on material culture reminds people that objects are physical things that exist in space. Less obvious is the fact that objects also exist in time: things are always in flux, and not just on the scale of centuries, but also in a moment.

This chapter discusses the contemporary visual art which explores the conjunction of mass extinction and habitat destruction. It discusses the work of artists like Jumana Manna and the Seed Broadcast Collective, whose anticapitalist, decolonial art provides hopeful glimpses of human and more-than-human flourishing in an age of planetary ecocide. The Green Revolution amounted to a privatization of the seed commons, a dramatic but all too little understood global transition that winnowed down the world's crop varieties dramatically since it meant the abandonment of the local varieties known as landraces. In addition, the collective provides copies of the Journal as a tool kit that museum attendees may take home, with the aim of helping them begin their own practices of seed saving and sustainable agri-Culture. The work of visual artists such as those the authors have discussed in this essay are a key part of the cultural work necessary to decolonize seed and support practices of seed commoning.

The male gaze remains one of the most canonical and contested concepts in feminist media studies. Since Laura Mulvey introduced the phrase in 1975 in her study of Hollywood cinema, scholars have applied the concept of the male gaze to film, television, art, advertising, and myriad other visual cultures. Mulvey suggested that the cinematic camera positions spectators to assume the perspective of heterosexual male viewers, wherein women's bodies are objectified and commodified toward sadistic ends. Her arguments have raised questions about the limitations of and potential for spectatorial identifications, desire, agency, and resistance. This chapter will, accordingly, offer explication of Mulvey's theory of the male gaze and will also consider other intersectional perspectives that have deployed, critiqued, and expanded this concept, arguing for both recognition of the hegemony of the male gaze and its limitations.

This chapter focuses on bodily engagement with a fashion brand through spatial and heritage storytelling, and the intersection between these two modes of storytelling, within the retail space. 1 The investigation concerns the Chinese luxury brand Wuyong (which means ‘useless’) and centers on Useless Space, which is to date its sole retail space, as the selected case study, and analyzes how visual culture and digital technology have been used to facilitate the two types of storytelling there. The space is seen as a curated historical and cultural narrative that engages consumers through walking; the cultural power of the space moves consumers in the way the space expects. The chapter finds that new bodily experience is created through multiple means of storytelling, whereby such provocation of the cultural sense prompts an emotional response to the retail space, and so to the brand.

"This book offers the first comprehensive study of the many interfaces shaping the relationship between comics and videogames. It combines in-depth conceptual reflection with a rich selection of paradigmatic case studies from contemporary media culture. The editors have gathered a distinguished group of international scholars working at the interstices of comics studies and game studies to explore two interrelated areas of inquiry: The first part of the book focuses on hybrid medialities and experimental aesthetics ""between"" comics and videogames; the second part zooms in on how comics and videogames function as transmedia expansions within an increasingly convergent and participatory media culture. The individual chapters address synergies and intersections between comics and videogames via a diverse set of case studies ranging from independent and experimental projects via popular franchises from the corporate worlds of DC and Marvel to the more playful forms of media mix prominent in Japan. Offering an innovative intervention into a number of salient issues in current media culture, Comics and Videogames will be of interest to scholars and students of comics studies, game studies, popular culture studies, transmedia studies, and visual culture studies."

Acknowledgements Contributor Biographies General Introduction Part One: Big Pictures Part Introduction 1. Patricia Mainardi, Dupinade, French caricature, 1831 2. Martha A. Sandweiss, General Wool and His Troops in the Streets of Saltillo, 1847 3. Matthew Fox-Amato, An Abolitionist Daguerreotype, New York, 1850 4. Anthony Lee, Antietam Sketches and Photographs, 1862 5. Jeannene Przyblyski, Barricades of Paris Commune, 1871 6. Thierry Gervais, Interview of Chevreul, France, 1886 7. John Mraz, Zapata and Salinas, Mexico, 1911 and 1991 8. Caitlin Patrick, Photographer on the Western Front, 1917 9. Michel Frizot, Sports Photomontage, France, 1926 10. Richard Meyer, Public Execution of Ruth Meyer, Sing-Sing Prison, 1928 11. Daniel Magilow, Photo of Kellogg-Briand Pact Meeting, Paris, 1931 12. Catherine Clark, A Decisive Moment, France, 1932 13. Sally Stein, Republican Soldier, Spanish Civil War, 1936 14. Barbie Zelizer, Child in Warsaw Ghetto, 1943 15. Alexander Nemerov, Flag-Raising, Iwo Jima, 1945 16. David Shneer, Soviet War Photo, Crimea, 1942 17. Vanessa Schwartz, New York in Color, 1953 18. Martin Berger, Rosa Parks Fingerprinted, Montgomery, Alabama, 1956 19. Mary Panzer, An Essay on Success in the USA, 1962 20. Diane Winston, Burning Monk, Saigon, 1963 21. David Lubin, Assassination of John F. Kennedy, Dallas, 1963 22. Victoria Gao, Chinese Political Persecution, Red Square, Harbin, 1966 23. Robert Hariman and John Lucaites, Street Execution of a Vietcong Prisoner, Saigon, 1968 24. Gennifer Weisenfeld, Industrial Poisoning, Minamata, 1972 25. Christian Delage, Police Beating, Los Angeles, 1992 26. Liam Kennedy, The Situation Room, Washington, DC, 2011 Part Two: Re-Thinking the History of News Pictures: Part Introduction a) News Pictures and Press Genres 1. Justine de Young, Not Just a Pretty Picture: Fashion as News 2. Ryan Linkof, Celebrity Photos and Stolen Moments: Witnessing the Lives of Others 3. Ulrich Keller, Pictorial Press Reportage and Censorship in the First World War 4. Thierry Gervais, Illustrating Sports, or the Invention of the Magazine 5. Will Straw, After the Event: The Challenges of Crime Photography b) News Picture Media 6. Michael Leja, News Pictures in the Early Years of Mass Visual Culture in New York: Lithographs and the Penny Press 7. Jordana Mendelson, Beautiful Contradictions: News Pictures and Modern Magazines 8. Joe Clark, "Public Forum of the Screen": Modernity, Mobility, and Debate at the Newsreel Cinema 9. Mike Conway, "See it Now": Television News 10. Abigail Solomon-Godeau, Collective Self-Representation and the News: Torture at Abu-Ghraib c) News Picture Time 11. Jordan Bear, Adrift: The Time and Space of the News in Gericault's Le Radeau de La Meduse 12. Jason Hill, Snap-Shot After Bullet Hit Gaynor 13. Andres Zervigon, Rotogravure and the Modern Aesthetic of News Reporting 14. Zeynep Gursel, A Short History of Wire Service Photography d) Speaking of News Pictures 15. Jennifer Tucker, "Famished for News Pictures": Mason Jackson, The Illustrated London News, and the Pictorial Spirit 16. Patricia Goldsworthy, Staying Close to Power: Picturing the King's Entourage in Turn-of-the-Century Morocco 17. Nadya Bair, A Photojournalist is Never Alone: Photo Editing and Collaboration in the History of News Pictures 18. Kim Timby, Look at those Lollipops!: Integrating Color into News Pictures e) News Picture Connoisseurship 19. Katie Hornstein, Horace Vernet's Capture of the Smahla: Reportage and Actuality in the Early French Illustrated Press 20. Vincent Lavoie, Appraising News Pictures: Awarding a Multifaceted Icon 21. Kristen Gresh, An Era of Photographic Controversy: Edward Steichen at the MoMA 22. Gaelle Morel, Photojournalism as Formal Paradigm in Contemporary Art 23. Erina Duganne, Adam Broomberg, Oliver Chanarin, and World Press Photo: Contemporary Art and Contemporary Photojournalism Selected Bibliography Index

In 1871, photographs of the revolutionary crowds who posed in the streets of Paris on 18 March were not the “news.” The mainstream press, when it referenced such images at all, treated them as a joke. The stillness of the Communards would seem to embody, prospectively, something like “the paradoxical synthesis of social movement and mobilization with immobility, the refusal to move,” that W. J. T. Mitchell has associated with “occupation” in his writings on the Occupy Wall Street movement. The barricade photographs prefigure this twenty-first century visual culture of media “occupation”—they are contemporary again in that regard. They stand as one of those intermittent moments when the official, editorial authority of the “news” is reconfigured as a more social, decentralized, distributed mediation of events.

Visibly Modern Madrid: Mesonero, Visual Culture and the Apparatus of Urban Reform-- Rebecca Haidt, Ohio State University *Thresholds of Visibility at the Borders of Madrid: Mesonero and Gmez de la Serna--Andrew Bush, * Observing the City, Mediating the City: Political Urbanism in Barcelona's Mirador (1929-32)--Robert A. Davidson, University of Toronto * Death, Madness and Nation-Formation in Spanish Historical Paintings of the Late Nineteenth Century--Jo Labanyi, University of Southampton * Seeing the Dead: Manual and Mechanical Specters in Modern Spain--Brad Epps, Harvard University * Santiago Rusiol's Impresiones de arte in the Age of Tourism: Seeing Andalusia after Seeing Paris--Elena Cueto Asn, Bowdoin College * Joan Mir and Mass Culture--Flix Fans, Universitat Autnoma of Barcelona * From Engraving to Photo: A Discussion of Transitional Technologies in the Age of Mechanical Reproduction--Lou Charnon-Deutsch, State University of New York, Stony Brook * Landscape in the Photography of Spain--Lee Fontanella, Worcester Polytechnic Institute * Isidora at the Museum: The Training of the Modern Gaze in Early Twentieth-Century Madrid--Luis Fernndez Cifuentes, Harvard University The Evolution of the Cultural Meanings and Uses of Spain's Regional Dress--Jesusa Vega, Autonomous University of Madrid * Foresight, Blindness or Illusion? Women and Citizenship in the Second Series of Galds's Episodios nacionales--David George, Bates College * Madrid on Screen: Modern Modes of Seeing in Pern and Palacios' Cinematgrafo Nacional--Susan Larson, University of Kentucky * Coloring Space and Time: The Spectacle of Race in Spanish Silent Film--Eva Woods, Vassar College * Modern Anxiety and Documentary Cinema in Republican Spain --Geoffrey B. Pingree, Oberlin College * The Last Look from the Border--Joan Ramon Resina, Cornell University

This chapter elaborates two binary relations to theorize the visual politics of selfies: figure and ground, transparency, and obfuscation. As Katherine Guinness and I have argued previously, selfies should be theorized as comprising a figure-ground relation in which a “self” is rendered distinct from a “background.” This occurs both in the experience of taking a picture and in the image itself, where the figure is located in front of its background. The politics of this distinction are ambivalent, though the phenomenology of taking a selfie requires this differentiation. As I argue here, the relational politics of figure and ground are made more overt when contrasting selfies with drone photography, which locates a figure within—and as a part of—a larger environment. The second binary, transparency-obfuscation, intersects with and remakes the figure-ground relationship. It helps theorize what a number of artists are doing to challenge a visual culture of surveillance that demands complete visibility and—often through computer-aided vision—“transparently” discerns knowledge of interior states from visible evidence of facial expression. Trevor Paglen, Hito Steyerl, Jemima Wymen, and Adam Harvey, among others, use practices of obfuscation to make a figure disappear to particular viewers. These practices, however, require extreme attention to relational, technological mechanisms of vision that ground the relational politics of figure and ground. In elaborating these binary relations, this chapter reviews and revises work on selfies to, first, stress relations beyond those of phatic communication and, second, emphasizes the material role of digital media in enabling or limiting particular relations.

This richly illustrated and interdisciplinary study examines the commercial mediation of royalism through print and visual culture from the second half of the seventeenth century. The rapidly growing marketplace of books, periodicals, pictures, and material objects brought the spectacle of monarchy to a wide audience, saturating spaces of daily life in later Stuart and early Hanoverian England. Images of the royal family, including portrait engravings, graphic satires, illustrations, medals and miniatures, urban signs, playing cards, and coronation ceramics were fundamental components of the political landscape and the emergent public sphere. Koscak considers the affective subjectivities made possible by loyalist commodities; how texts and images responded to anxieties about representation at moments of political uncertainty; and how individuals decorated, displayed, and interacted with pictures of rulers. Despite the fractious nature of party politics and the appropriation of royal representations for partisan and commercial ends, print media, images, and objects materialized emotional bonds between sovereigns and subjects as the basis of allegiance and obedience. They were read and re-read, collected and exchanged, kept in pockets and pasted to walls, and looked upon as repositories of personal memory, national history, and political reverence.

1 Introduction. Victor Buchli 2 Metaphor, Materiality and Interpretation Chris Tilley Introduction 'The Metaphorical Transformations of Wala Canoes' 3 The Anthropology of Art. Susanne Kchler Introduction 'Binding in the Pacific: Between Loops and Knots' 4 Visual Culture. Chris Pinney Introduction 'Photographic portraiture in Central India in the 1980s and 1990s' 5 Heritage and Cultural Property. Mike Rowlands Introduction 'The Power of Origins: Questions of Cultural Rights' 6 Landscape and Politics. Barbara Bender Introduction 'Contested Landscapes: Medieval to Present Day' 7 Memory and Conflict. Nicholas Saunders Introduction 'Bodies of Metal, Shells of Memory: "Trench" Art and the Great War Re-cycled' 8 Architecture and the Domestic Sphere. Victor Buchli Introduction 'Khrushchev, Modernism and the Fight against Petit-bourgeois Consciousness in the Soviet Home' 9 Consumption. Danny Miller Introduction 'Coca-Cola: a black sweet drink from Trinidad'

The bulk of the material studied in connection with the transmission of conspiracy theories is comprised of written sources. Images of conspiracy locate themselves at the border between the seen and unseen; they portray dense and condensed narratives of causal connections in a play between graphic image, reality and imagination. This chapter argues that visuality in conspiracy culture is an under-researched phenomenon that promises fruitful investigations, an argument also relevant for other research areas. It demonstrates how the visual culture of conspiracy theories recognises patterns, detects agency, maps coalitions, crafts enemy images and visualises secrecy in various interrelations of mediality, essentially between verbal and visual media. As M. Leone has argued, it is Rembrandt and his The Conspiracy of the Batavians under Claudius Civilis, who ‘offers one of the first modern instances of visual conspiracy theory’. Conspiracy theories interpret the world by telling a story.

Part I Definitions and approaches Introduction Todor Hristov, Andrew McKenzie-McHarg and Alejandro Romero Reche 1. Conceptual history and conspiracy theory Andrew McKenzie-McHarg 2. Conspiracy theory in historical, cultural and literary studies Peter Knight and Michael Butter 3. Semiotic Approaches to Conspiracy Theories Massimo Leone, Mari-Liis Madison and Andreas Ventsel 4. Philosophy and conspiracy theories Juha Raikka and Juho Ritola 5. Psychoanalysis, critical theory and conspiracy theory Nebojsa Blanusa and Todor Hristov 6. Conspiracy theory as occult cosmology in anthropology Annika Rabo 7. Sociology, social theory and conspiracy theory Turkay Salim Nefes and Alejandro Romero Reche 8. Conspiracy theories in political science and political theory Julien Giry and Pranvera Tika 9. Social psychology of conspiracy theory Olivier Klein and Kenzo Nera 10. Social network analysis, social big data and conspiracy theories Estrella Gualda Caballero Part II Psychological factors Introduction Jan-Willem van Prooijen, Karen Douglas, Aleksandra Cichocka and Michal Bilewicz 1. Personality traits, cognitive styles and worldviews associated with beliefs in conspiracy theories Anthony Lantian, Michael Wood and Biljana Gjoneska 2. Social-cognitive processes underlying belief in conspiracy theories Jan-Willem van Prooijen, Olivier Klein and Jasna Milosevic Dordevicz 3. Motivations, emotions and belief in conspiracy theories Karen M. Douglas, Aleksandra Cichocka and Robbie M. Sutton 4. Conspiracy theories as psycho-political reactions to perceived power Roland Imhoff and Pia Lamberty 5. How conspiracy theories spread Adrian Bangerter, Pascal Wagner-Egger and Sylvain Delouvee 6. Conspiracy theories and intergroup relations Mikey Biddlestone, Aleksandra Cichocka, Iris Zezelj and Michal Bilewicz 7. Consequences of conspiracy theories Daniel Jolley, Silvia Mari and Karen Douglas 8. Countering conspiracy theories and misinformation Peter Kreko Part III Society and politics Introduction Eirikur Bergmann, Asbjorn Dyrendal, Jaron Harambam and Hulda Thorisdottir 1. Who are the conspiracy theorists? Demographics and conspiracy theories Steven M. Smallpage, Hugo Drochon, Joseph E. Uscinski and Casey Klofstad 2. Conspiracy theory entrepreneurs, movements and individuals Jaron Harambam 3. Conspiracy theories and gender and sexuality Annika Thiem 4. Conspiracy theories, political ideology and political behaviour Hulda Thorisdottir, Silvia Mari and Andre Krouwel 5. Functions and uses of conspiracy theories in authoritarian regimes Julien Giry and Dogan Gurpinar 6. Conspiracy theory and populism Eirikur Bergman and Michael Butter 7. Radicalisation and conspiracy theories Benjamin Lee 8. Antisemitism and conspiracism Kjetil Braut Simonsen 9. Conspiracy theory and religion Asbjorn Dyrendal Part IV Media and transmission Introduction Stef Aupers, Dana Craciun and Andreas OEnnerfors 1. Rumours, urban legends and the verbal transmission of conspiracy theories Anastasiya Astapova 2. Conspiracy theorising and the history of media in the eighteenth century Andrew McKenzie-McHarg and Claus Oberhauser 3. Genres of conspiracy in nineteenth-century British writing Ben Carver 4. Conspiracy in American narrative Timothy Melley 5. Conspiracy theories and visual culture Ute Caumanns and Andreas OEnnerfors 6. Conspiracy theories in film and television shows Michael Butter 7. Decoding mass media / encoding conspiracy theory Stef Aupers 8. The Internet and the spread of conspiracy content Simona Stano 9. Networked disinformation and the lifecycle of online conspiracy theories Hugo Leal 10. Conspiracy theories and fake news Kiril Avramov, Vasily Gatov and Ilya Yablokov Part V Histories and regions Introduction Ilya Yablokov, Pascal Girard, Nebojsa Blanusa and Annika Rabo 1. Conspiracy theories in the Roman empire Victoria Emma Pagan 2. Conspiracy theories in the Middle Ages and the early modern period Cornel Zwierlein 3. Freemasons, Illuminati and Jews: Conspiracy theories and the French Revolution Claus Oberhauser 4. Conspiracy Theories in Europe during the twentieth century Pascal Girard 5. Conspiracy theories in Putin's Russia: the case of the 'New World Order' Ilya Yablokov 6. Conspiracy theories in and about the Balkans Nebojsa Blanusa 7. Conspiracy theories in Turkey Dogan Gurpinar and Turkay Salim Nefes 8. Conspiracy theories in the Middle East Matthew Gray 9. Conspiracy theories in Southeast Asia Viren Swami, Hanoor Syahirah Zahari and David Barron 10. Conspiracy theories in American history Michael Butter 11. Populism and conspiracy theory in Latin America: a case study of Venezuela Rosanne Norris Hooper

During the post-war period, margarine was re-conceptualised as a value-added product with distinct health benefits. This article contextualises the advertising of margarine as a healthy food, focusing on Unilever’s Flora brand as an important case study in legitimising the emergent role of disease prevention as a marketing tool. It uses the methodology of visual culture to examine how advertising employed chronic disease prevention as a selling tool. This article assesses how the post-war environment gave rise to new ways of visually advertising food, and how these promoted innovative visualisations of food, the body and their interactions with health.

This chapter investigates how mass entertainment venues have been transformed into digital games. Analyzing Walt Disney’s Epic Mickey, the Monkey Island adventure game series, and theme park simula ...

This chapter examines the interventionist potential of Amsterdam-based photographer Angele Etoundi Essamba’s work vis-a-vis the exploitative gaze to which slavery and colonialism have historically subjected the black female body. Using Freida High Tesfagiorgis’ concept of Afrofemcentrism, it analyses Essamba’s work as a counterpoint to the scientific discourse that has legitimised the visual dissections and denigrations of black women’s bodies throughout Western culture. The chapter shows that Essamba’s endeavour to reclaim the black female body by underscoring its strength, femininity, and complexity is a clear political and social engagement in a space (the museum, art history) where black women (as subjects and objects) have suffered a long history of marginalisation. By blending the study of visual culture with an assessment of historical racisms, this chapter provides a timely contextualisation of Essamba’s Cameroonian–Dutch art that goes beyond aesthetic content as an African European counter-discourse.

The research was sponsored by the Spanish Ministries of Science and Innovation as part of the research project 'Young people as visual culture producers: competencies and artistic knowledge in secondary education' (reference number EDU2009-13713) granted in 2010.