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This article builds on efforts to connect visual culture, social movements, and memory studies. It introduces the concept of visual public memory through a study of the circulation of photographs of the Dutch anarchist movement Provo between 1967 and 2016. It demonstrates that the visual public memory of a movement can be captured in a network composed of carriers of memory (newspapers, magazines, exhibitions, books), memorata (the remembered events), and mnemonic actors (actors that circulate the carriers of memory). Based on a qualitative interpretation of this network, the article follows four routes through it, uncovering the role of seemingly a-political mnemonic actors, such as municipal governments and museums, in the visual public memory of Provo. Showing how photographs are uniquely able to carry political possibility into memory, this article argues that visual representation plays a crucial role in how social movements are remembered.

It is often thought that since remote, rare, and ephemeral events such as apparitions are not available to the direct observation of scholars, the question of their nature as events must be set aside in scholarly inquiry. This results in a focus on meaning that can ignore the qualities of the event as reported and as apprehended by devotional imagery that emerges over time to provide access to the event and its relevance for devotional practice. It also encourages concepts of revelation that are not able to consider the event as a visual form of experience and regard revelation itself as something that must be either true or false. This essay proceeds otherwise, arguing that revelation is not a single, closed event, but an ongoing visual process in which sketchy schemata interact with fixed imagery to interpret the event in an ongoing history of iconography and visual interpretation. The essay focuses on the visuality of devotion to Our Lady of Fátima as a case study in how seeing works and imagery functions to make revelation a visual process whose devotional life is ongoing.

The paper brings together two segments of contemporary humanitarian practice – celebrity advocacy and virtual reality (VR) – in order to more fully comprehend the relationship between emergent technologies and humanitarian advocacy efforts. Numerous VR documentaries intended to immerse audiences into the full experience of “distant suffering” have been crafted for audiences in the global North. Between 2015 and 2019, the United Nations invested in at least 21 VR documentaries covering crisis situations around the world. VR’s popularity is premised on the promise of bringing spectators and “distant sufferers” together through immersive experiences. Performances of humanitarian advocacy use traditional representational tools of Western humanitarian discourse. This leads to the question whether advocacy efforts using immersive VR flatten real and material differences that exist between sufferers and spectators in safe zones through the “illusion of co-suffering”? To what extent do such experiences risk “improper distance” by translating the irreducible alterity of other lives into familiar terms?

This article examines the rich visual culture of the medieval period in order to better understand dreaming as a kind of visual thought experiment, one in which ideas associated with cinema, such as embodied viewing, narrative sequencing, projection, and sensory engagement, are palpable in a range of visual and literary works. The author explores the theoretical connections between the oneiric qualities of cinema and the visual culture of medieval dreams, dealing in turn with the following themes: (i) media and mediation; (ii) projection and premonition; (iii) virtual spatiality; and (iv) automata and other animated objects. The wide swath of medieval literary dream texts, with their mobile perspectives, sensory plentitude, and gnostic mission, resonate with the cinematic in the structuring of the gaze. Investigating the codes of medieval culture provides us with an unusually rich episteme for thinking about how the dreamscapes of the Middle Ages evoke media dispositifs. Opening up these thought lines across distinct eras can help us extrapolate similarities around ways of imagining objects, spaces, sensations of embodied viewing or immersion, reminding us that our contemporary cinematic and digital landscapes are not divorced from earlier ways of seeing and believing. Whether stoking religious fear and veneration or providing sensual pleasure as in Le Roman de la Rose, the dreamworlds of the Middle Ages have bequeathed us a number of an extraordinarily rich creative works that are the imaginative building blocks of media worlds-in-the-making, as speculative in many ways as current discourses around new media.

Musical numbers, as viral modes of entertainment, influential forms of visual culture and catalysts of popular discourse are dense with multivariate aesthetic performers, and are interlaced to punctuate the melodramatic narrative texture in advancement of the plot and characterization in musical films. Performing identity through dancing bodies has been the subject of several film, music, culture, performance and communication research endeavours yet has rarely been explored from multimodal discourse analysis perspectives. To examine the ‘resilient identities’ underlying performances, the article adopts an eclectic approach informed by the Bakhtinian chronotope with regard to two numbers drawn from a recent American musical film in order to pinpoint: (a) the full repertoire of multimodal resources of narrative agency and identity performance; (b) the emotional experiences evoked by the musical numbers; and (c) the social practices that constitute, maintain and resist social realities and identities. The unconventional approach to the analysis of the musical numbers is what makes the current research project stand out among interdisciplinary studies of musical discourse.

The stories that museum objects convey change on social media. This narrative shift is analyzed through the development of social media methods that track the dissemination of the Viking helmet from the Swedish History Museum to personalized YouTube search engine result pages (SERPs). Social media methods are used to compare the narratives and meanings produced on YouTube SERPs with the narratives and meanings sanctioned by the Swedish History Museum. The hermeneutic process at the core of the methodological approach reveals how personalization algorithms targeting user identities through IP addresses influence the meanings of objects, which are mediated and commercialized via social media SERPs. This research demonstrates that personalized search engine result pages have an algorithmic impact on the narratives of objects that counters the social justice goals integral to contemporary museum practices. The meaning curation of museum objects is not customized to individual preferences and identities. Museums advance selected interpretations of objects to endorse a variety of vantage points so that the fixity of identity categories can be questioned.

In early and mid-twentieth century American cities, visual culture announced the emergence of a new category of urban waste: litter. As anti-litter efforts used photography, cartoons, and other images to define litter, they also framed responsibility for its production and removal. This article focuses on the circulation of photographs in mid-twentieth century Philadelphia newspapers to illuminate the central role of visual culture in disciplining city dwellers about the proper relationship with litter and the larger landscape it marred. Early litter photography initially framed women, sanitation workers, and scavengers as primarily responsible for the production of litter. However, the disciplinary gaze sharpened in this set of images rippled outward as litter policing became increasingly formalized and punitive. As photographs defined and policed litter, they also illuminated a changing relationship between the municipal government and urban dwellers, in which residents were increasingly expected to maintain public space through unpaid physical labor and surveillance.

Animation has become ubiquitous within digital visual culture and fundamental to knowledge production. As such, its status as potentially reliable imagery should be clarified. This article examines how animation’s indexicality (both as trace and deixis) changes in mixed realities where the physical and the virtual converge, and how this contributes to the research of animation as documentary and/or non-fiction imagery. In digital culture, animation is used widely to depict both physical and virtual events, and actions. As a result, animation is no longer an interpretive visual language. Instead, animation in virtual culture acts as real-time visualization of computer-mediated actions, their capture and documentation. Now that animation includes both captured and generated imagery, not only do its definitions change but its link to the realities depicted and the documentary value of animated representations requires rethinking. This article begins with definitions of animation and their relation to the perception of animation’s validity as documentary imagery; thereafter it examines indexicality and the strength of indexical visualizations, introducing a continuum of strong and weak indices to theorize the hybrid and complex forms of indexicality in animation, ranging from graphic user interfaces (GUI) to data visualization. The article concludes by examining four indexical connections in relation to physical and virtual reality, offering a theoretical framework with which to conceptualize animation’s indexing abilities in today’s mixed realities.

This article inverts Donna Haraway’s proposition that ‘the ideologically charged question of what counts as daily activity, as experience, can be approached by exploiting the cyborg image’ by instead exploiting everyday experience to approach the contemporary cyborg. It utilises digital tools to compile a corpus of Instagram posts that foreground corporeal hybridity, and examines this social media data through the lenses of feminist STS, affect theory and digital studies. This strategy offers a new vantage on the cyborg by connecting it to concrete and ongoing user practices. To make these interventions, this project focuses specifically on a genre of post popularised by Instagram fitness (or fitstagram) influencers – diptych photographic montages that oppose imperfectly ‘real’ material bodies to unrealistically ‘perfect’ media bodies. Although they formally rely on binary logics (real v. perfect, offline v. online), the posts simultaneously deconstruct them in a number of ways. These repeated boundary transgressions reflect users’ lived experiences of hybrid online/offline corporeality and help forward a theory of cyborg embodiment that relies on quotidian practices as opposed to fixed products or identities. Moreover, close engagement with a final dataset of eighty-nine posts illuminates three particular modes of enacting the cyborg corpus on Instagram: occupation of multiple bodies, awareness of the analogue body and anxious boundary-work. This research extends the cyborg as a critical figure by situating it within a social media context, attending to its imbrication in everyday practices, and affirming female Instagram users as theorists of their cyborg selves.

This article endeavors to describe the impact of ‘visual essentialism’ as an approach towards trans visual culture, including the violence it enacts and the mistrust it fosters towards self-defining language for gender identities. It borrows Susan Stryker’s insight in her introduction to her Transgender Studies Reader (2006, edited with Stephen Whittle) that trans phenomena move to the foreground when set against an ambient background consisting of gender normative conditions. It extrapolates this visual metaphor for understanding trans in contrast to non-trans into a method to analyze trans visual culture. The author argues that, by focusing on how the figure and ground relate in alignment, or not, the analyst can better examine how the components of visuality are working together to position one’s value-laden perspective on visible transgender and non/trans things. This elaboration along three proposed categories of value, namely political, symbolic and commercial, is offered to better understand and parse the noted problem of trans visibility increasing alongside transphobic violence.

Transgender art and visual culture studies is a quickly growing field, and we present it to readers of this themed issue less as a linear discourse or a set of parameters than as a prism, with no clear temporal progression or geopolitical center. In this introduction, we not only announce the articles in this issue and discuss their convergences and divergences but also survey works in transgender studies that have proven critical to discussions of the visual and material within transgender cultures. Reading what follows, we hope any shared notion of transgender art and visual culture is expanded rather than contracted – that we find new ideas rather than merely those that reconfirm our existing sense of things or serve a monolithic construct that limits our future imaginary.

Drawing from theories of visual culture, social semiotics, and multimodality, the researchers conducted a qualitative multimodal content analysis of the covers of 21 young adult (YA) books that had been adapted as graphic novels (GNs). This study showed that the GN covers emphasized character and that the ages of the represented characters seemed to shift during the process of adaptation. However, publishers linked the two covers through branding, color schemes, and visual elements. These findings suggest that publishers view the readership of GNs differently than the readership of YA novels. This article encourages literacy education researchers and classroom practitioners to support students in analyzing visual artifacts designed for particular consumers. Critical readers could examine the sites of production and dissemination in addition to the text itself.

By focusing on unconventional war imagery of the Russo-Japanese War (1904-1905) in The Wartime Graphic, a widely popular pictorial war magazine in Japan, this article uncovers an art of publishing critical materials under the difficult circumstances of modern total war. The magazine’s contents suggest that it was a ‘masquerading’ media which provided critical cultural space while circumventing censorship. Examining the space and expressions in the middle ground, this article will shed light on considerable yet hitherto overlooked dimensions of wartime Japanese press and Japanese society, challenging dichotomous understandings of ‘pro-’ and ‘anti-’ war.

This essay historicizes cultural and psychic economies in the postwar United States under the sign of material scarcity. It situates the proliferation of plastic flowers in domestic space within a context of bureaucratic anxieties surrounding natural resource scarcity, and trends toward ‘outdoor living’ that were an offshoot of the ideology of economic growth. Interrogating repeated, if relatively unexamined, invocations of ‘anxious’ suburban subjects in descriptions of postwar society, the essay suggests that plastic flowers shored up a sense of stability and permanence at a time when nuclear annihilation, Cold War paranoia, and population growth combined to render life uncertain and potentially unsustainable. The essay concludes by reflecting on how legacies of that epoch – and the fiction of permanence offered by plastic flowers – endure in contemporary fantasies of limitless progress.

Over the last two decades, Russian Internet accumulated a range of images originating from the Soviet epoch, including everything from official portraits of Soviet leaders to representations of Soviet greeting cards and postage stamps. While some of those digitised items remain intact, others become a part of different creative practices inherent to online environment, such as photo manipulating, remixing, recombining and merging with elements attributing to other historical or national contexts. The current article investigates one instance of creative re-appropriation of the Soviet visual legacy on the Internet: construction of digital memes from the former Soviet propaganda posters. Upon focusing on three iconic posters, namely Did you Volunteer? (1920), Do not Talk! (1941) and Motherland is Calling! (1941), this study examines how the propaganda images have been transformed by contemporary Russian users into ‘templates’ for meme-making. Furthermore, the article identifies two particular functions of memes based on the Soviet propaganda posters: first, as a form of a peculiar humour, known in Russian tradition as stiob and, second, as an instrument for voicing of public opinion, through which users comment on urgent political and social issues. The article concludes that the remakes of Soviet propaganda images do not fall within any hitherto discovered category of humorous, political or historical memes, and therefore, they should be considered as a separate case in contemporary production of memes.

The anonymous Syrian film collective Abounaddara has posted a new short video on Vimeo and distributed it via social media every Friday since April 2011, the beginning of the Syrian popular uprising. Working with limited equipment, no regular funding, and under very dangerous conditions, Abounaddara has termed its work ‘emergency cinema’, recalling one of the group’s vital influences, Walter Benjamin, who envisioned artistic collectives as potentially effective responses to political violence. This article demonstrates how Abounaddara’s work subverts international and national media coverage of the Syrian conflict by consciously employing what Benjamin described as an artisanal form of storytelling. The author illustrates how and why Abounaddara’s concept of ‘the right to the image’ is politically vital and ethically complex, arguing for its relevance within the broader context of global digital images of state and police violence rousing debates about representation, media ethics, and the circulation of graphic images.

This article looks at the transformation of comic book adaptations of the Indian epics from Amar Chitra Katha ( ACK) to present-day representations. The overarching thrust of the article is to assess the stature of comic books as cultural “products” and to examine the ways in which culture, religion, politics, and industry entwine. The essay also works to interpret the trends and reasons behind the iconographic transition of comic books, the publication politics which underlie their production and dissemination, and their status as cultural commodities. Subgenres of comics which could be variously categorized as cyberpunk, post-apocalyptic, or superhero styled comics, and evidently have a niche market or readership, are being held as blueprints for oversimplified transference of what has been widely accepted as the “core” story of the Ramayana and the Mahabharata. Therefore, I also argue that contemporary visual culture in the domain of comic books has seen a gradual shift from ACK’s knowledge-based conservative pedagogy to a more globalized entertainment-oriented, market-centred strategy.

With the development of visual digital technologies it has become more common in the social sciences to both use and present research visually. This article explores different strategies for working with and including images in ethnomethodology and conversation analysis (EMCA) transcriptions. The purpose is to investigate how, and if, the ontology of the transcript changes when verbal transcripts become visual transcripts. The article explores what ensures that a transcript is still a transcript and what happens to the reflexive interpretative strategy fundamental to EMCA when new digital technologies make it possible to incorporate images in transcripts. The article’s focus is on the social life of methods as well as methodological productivity showing how images can enact different social ‘realities’ and scientific knowledge.

Billy Waters ( c. 1780–1823), the ‘King of the Beggars’, was a London street-performer and a well-known figure in early nineteenth-century popular culture, yet despite this he has received no sustained critical or cultural attention. Close attention to depictions of Waters offers the potential for developing a new model of 1820s and 1830s popular culture that shows – in more detail than the critical models currently available – how popular theatre connects with print and visual media. The use and reuse of Waters’ image allows us to see how Regency popular culture had a specific kind of matrix in which characters, scenes, and images were used and reused across media: with Waters as a case study we can track the ways in which representations of theatricality as a mode of urban life spread across popular culture in a series of networked illustrations. This article analyses visual and textual representations of Billy Waters to suggest a new approach to ascertaining the relationship between ideological agency and popular cultural forms. Building on Robert Darnton’s more linear ‘communication circuit’ it proposes the model of the ‘communication network’ to give new insight into the ways in which theatre and its visual culture function across Regency popular forms.

How can one ‘see’ the operationalization of contemporary visual culture, given the imperceptibility and apparent automation of so many processes and dimensions of visuality? Seeing – as a position from a singular mode of observation – has become problematic since many visual elements, techniques, and forms of observing are highly distributed through data practices of collection, analysis and prediction. Such practices are subtended by visual cultural techniques that are grounded in the development of image collections, image formatting and hardware design. In this article, we analyze recent transformations in forms of prediction and data analytics associated with spectacular performances of computation. We analyze how transformations in the collection and accumulation of images as ensembles by platforms have a qualitative and material effect on the emergent sociotechnicality of platform ‘life’ and ‘perception’. Reconstructing the visual transformations that allow artificial intelligence assemblages to operate allows some sense of their heteronomous materiality and contingency.

The Progressive-Era movement to end enforced prostitution—hyperbolically termed “white slavery”—achieved substantial and enduring legislative and political victories by the onset of World War I. In the first two decades of the twentieth century, images provided a potent but heretofore overlooked vehicle for the most prominent white slavery activists, a means of picturing the city with all its dangers and temptations, and an effective means of competing with the spectacles of modern society. The visual propaganda of white slavery demonstrates the extent to which prominent members of this reform movement—and several impostors masquerading as earnest reformers—engaged in controversial, explicit tactics in the vein of contemporary true-crime stories. Whether these methods were in the service of arming rural families with valuable knowledge or simply generating attention and profit, they reveal the internal contradictions that threatened to undermine or even undo the reformist message.

This article is about weaponisation of emotions through visual culture. It interrogates how geopolitics trickles down to everyday life and becomes personal through the embodiment of screen actors. While International Relations is attempting to move beyond the limits of existing disciplinary methods and methodologies to better grasp the emotional depths of world politics, this article delves into the ‘method’ in performance arts to understand how visual culture diffuses emotional narratives of the state to the population and affectively enables people to experience the international from the perspective of the United States. In this sense, focusing on ‘method acting’ which revolutionised performance arts in the United States from the 1950s, the article examines the mundane encounters in visual culture through which screen/state actors emotionally situate the audience to make them viscerally experience geopolitics, personally feel like a state/warrior and embody a commitment to the war effort at an emotional level.

This article explores the China bag, the iconic red-white-blue plaid bag, as a global commodity, material object, and art object in the context of racialized xenophobia in South Africa. With multiple meanings, the bag is simultaneously familiar and foreign, ubiquitous in its circulation and associated with migration. I consider the ways it is imbued with xenophobic sentiment and its agential capacity for marking racialized bodies as foreign. Through close readings of artworks by Nobukho Nqaba, Dan Halter, and Ronald Muchatuta, I show how artists deploy the China bag to critique xenophobia, and in so doing, make visible its agency.

The study investigated the effects of Korean cultural products – namely drama, popular music, and celebrity – on Malaysian metrosexuals’ attitudes to Korean grooming products and also their consumption behaviour. In this study, we developed a conceptual model depicting the relationships of critical variables deduced from the Cultural Diamond Model and the Theory of Reasoned Action (TRA). Acknowledging the influential role of media exposure in these relationships, we treated visual media consumption as a moderating variable. The effects were expected to vary according to the level of exposure to the Korean Wave from multiple visual media platforms. We conducted a multi-group structural equation modelled on data from an online survey of 205 Malaysian metrosexuals with low (N=57) and high (N=148) consumption rates of Korean Wave material. The results show that Korean cultural products, except popular music, significantly predict metrosexual grooming attitudes and behaviour. The study also found that high visual media consumption of Korean celebrity news contributes to favourable attitudes to and use of Korean grooming products. The research suggests that globally, metrosexuals might serve as the pioneers of an expanded market for the Korean grooming culture.

This article questions a longstanding definition of animation that lacks aspects of cultural diversity in part; it reexamines the socio-cultural formation of modern animation from less known regions of China and investigates Chinese animation known as donghua (动画). The goal is to demonstrate the transdisciplinary nature of donghua acquired through dynamic interactions in this heterogeneous site of production of visual culture in modern China. The author suggests a concept-based framework to more accurately describe animation in China composed of three specific dimensions of donghua: translinguality, transnationality and transmediality. To conclude, the author reveals that the study of donghua helps generate a more widely defined spectrum of the now divergent ‘cultural field’ of ‘animations’ and therefore leads to a ‘translocal imagining of animation’ appropriate for today’s increasingly mobile world.

This article identifies an unease, or even squeamishness, in the way in which political science addresses social media and digital politics, and argues that we urgently need to avoid such squeamishness if we are to adequately grasp the texture and character of contemporary digitally mediated politics. The first section highlights some of the methodological assumptions that underpin this squeamishness. Section ‘Visual Culture and the “Memeification” of Politics’, drawing on a recent research project on the changing shape of the British left, highlights a number of key trends in digital politics which deserve more attention from political scientists. In particular, I stress the ways in which politics is enacted in and through visual media such as gifs, memes and other forms of shareable visual content. Section ‘Re-Orienting the Study of Digital Politics’ then mines recent literature in media and communication studies to highlight a range of conceptual and methodological approaches that might be better able to capture the contours of these emergent forms of digitally mediated politics. In the section ‘The Pleasures and Passions of Socially Mediated Politics: Towards a Research Agenda’, I articulate a possible research agenda. Overall, I encourage political scientists to see the production and exchange of digital visual media not as some frivolous activity on the margins of politics, but as increasingly central to the everyday practices of politically engaged citizens.

In this article, I consider ‘skin portraiture’: a mode of representation that privileges quasi-anonymous, fragmented, magnified and anatomized images of skin. I argue that this mode of representation permits a heightened awareness of embodied experiences such as reflexivity, empathy and relationality. Expanding understandings of difference through its engagement with haptic imagery and visuality, skin portraiture reorients the boundaries between ‘I’/‘not I’ and subject/object – often through touch – and challenges the cultural commitment to traditional notions of bodily autonomy. By doing so, skin portraiture functions as an antagonistic form of portraiture; that is, as a kind of anti-portraiture that pushes the genre into an expanded visual field and, at times, beyond representation. Exploring the skin-as-technology metaphor, I show that bio art skin portraiture creates chimeric skins through tissue culturing practices, permitting bodies to become radically relational. Bio art skin portraits celebrate the genetic and cellular differences between bodies through a visible collapse of epidermal boundaries, which engenders a hyper-haptic mode of seeing beyond the subject and her or his skin. Analysing the bio art of Jalia Essaïdi, ORLAN and Julia Reodica, and drawing on the work of Laura Marks and Erin Manning, this article explores the skin-as-technology metaphor in order to offer the arts and humanities an innovative understanding of contemporary embodiment.

How can we recognize the political in the city? How might urban scholars engage with forms of urban politics outside of established sites of research such as those associated with representative democracy or collective mobilizations? This article suggests that new perspectives on urban politics might be enabled through reinvigorated connections between the social sciences and humanities, and by combining long-term urban ethnography and cultural analysis. Reading forms of creative expression in relation to power struggles in and over urban space can direct our attention towards negotiations of authority and political belonging that are often overlooked within urban studies. The article explores the possibilities of such an approach by focusing on the idea of the political imagination as socially and materially embedded in urban landscapes. Expressive culture generates both analytical and normative frames, guiding everyday understandings of how urban power works, where and in whose hands it is concentrated, and whether we see this as just or unjust. Such frames can legitimize or delegitimize specific distributions of urban resources and risks, and can normalize or denaturalize specific structures of decision-making. Through a discussion of popular music and visual culture, the article considers how everyday practices both feed into, and are informed by, imaginations of urban rule and political belonging.

What does considering skin carefully and specifically illuminate about addiction, addiction discourse and/or the visual culture of addiction, that more general considerations of the body do not? What light is shed when we talk about skin and addiction? I want to propose in this brief article that in looking at addiction and addiction discourse through the lens of skin studies, we see with even more clarity the thinness of the argument that addiction is legible from corporeal evidence. I conclude that while we may want skin to tell us things about others, it nevertheless behooves us to be wary of what we think skin tells us about addiction.

In this interview, Cynthia Hammond sits down with Marc Lafrance in order to discuss the 30-year sketching practice that led to her exhibition, Drawings for a Thicker Skin, in 2012. In this practice, Hammond made small, quick drawings of the clothes she would need for trips or key professional events. As she explains, the drawings were not just essential to knowing what to pack; they were essential to being able to pack. While she never conceived of the practice as art, when invited to exhibit the drawings she found a way to relate this idiosyncratic and private practice to a larger set of ontological concerns. Clothing as a second skin is the key idea here, as Hammond and Lafrance explore what it means to navigate identity, idealized self-image, professional ‘passing’ and the skin ego.

This article contributes to scholarship on urban visual culture by advancing understandings of how visual imageries may become (online and off-line) sites of confrontation between dominant media perspectives and the lived experiences of urban citizens. Based on participatory photography amongst local residents in Detroit, this article provides transformative insights by contrasting sense makings of Detroiters with dominant media portrayals of a “decaying” city. Residents were asked what images they would use to “see” and represent the city. Photo elicitation interviews revealed interlaced lived experienced and narrated reminiscences of local life and the material urban fabric beyond the prevailing narratives of mere neglect and abandonment. This study develops further knowledge of how photography can simultaneously operate as a critical socio-spatial research subject and an empowering tool for research participants. Through shifting the hegemonic locus of media agents toward residents’ positionalities, findings indicated potentials for redressing the misunderstood spaces of the everyday life of ordinary people.

This article examines the Twitter feed of @WinnieMandela (purportedly the official profile of Winnie Madikizela-Mandela), in particular the trend that sees iconic portraits of her being shared by her admirers on meaningful days, such as her birthday. A notable practice on the feed is the regular sharing of historical images of Madikizela-Mandela, tweeted by some of her 69,000 followers, often on her birthday. Juxtaposing these images are current photos tweeted from her own account as well as those shared by fans who meet her and take pictures together. The article presents a visual typology of the narratives of womanly identity that are captured in the historical portraits of Madikizela-Mandela that fans share. The analysis is contextualized within scholarship on gender and politics, the representation of women politicians in the media, and the use of social media by politicians. The article theorizes the fan photo-sharing on Winnie Mandela’s Twitter feed as a process that partially constructs her public image in opposition to negative mainstream media coverage. It concludes by reflecting on what an attachment to nostalgic images of Winnie Mandela mean in the current moment in South African politics, as well in relation to communication on social media.

The banal imaging of ourselves and our environments has led to new aesthetic modes where the conventions of imaging, subject–object relationships and what is pleasurable or popular often draw on the ludic, the unexpected or the surprise element. One such image genre is photobombing, where a transgressive object or entity within a conventional image setting subverts it, adding popular appeal through its ability to reconfigure its aesthetic conventions, opening it up for public pleasure and consumption and inscribing it with a possibility of going viral. Photobombing as an image genre online reflects our aesthetic modes and the age of distraction, where the unexpected remains a mode of ocular appeal underscoring the convergence of popular culture and the fluidity of Web 2.0’s convergence architecture. As such, people’s aesthetic modes of the popular can be invented, renewed and subverted with new formats. The phenomenon of photobombing equally affirms the spectacular as a liminal site where pleasure is experienced with the breaking down of norms and the conjoining of a communal gaze through the aesthetics of transgression.

‘Successful ageing’ has been a controversial concept in cultural gerontology, prompting critiques of its inherent individualism, neglect of structural inequalities and promotion of neoliberal strategies of self-care. This article aims at developing the critique of its heteronormative underpinnings. Drawing on cultural gerontology, feminist theory and queer theory, a critique of the rhetoric and visual representation of ‘successful ageing’ is developed that demonstrates the extent to which ‘success’ is equated with enactments of normative, gendered heterosexuality. The intent is not to simply map the exclusion or marginalization of queer representations but to make visible the ways in which assumptions of heterosexuality organize the visual field of ‘successful ageing’. Using examples from ‘lifestyle’ magazines and health promotion materials aimed at mid-to-later life adults, I demonstrate how the promise of ‘heterohappiness’ shapes visions of anticipatory ageing. This article forms part of ‘Media and the Ageing Body’ Special Issue.

In this article the authors explore how attention and care are related in practice, as encountered in their ethnographic fieldwork on food safety inspection in the UK. Noting that there is a tendency to conceptually conflate the two activities within recent literatures, the authors tease apart the attention and care of inspection to propose that attention offers the conditions of possibility for care, and that its quality can shape that care in significant ways. Attention in this account does not involve simply a visual culture of surveillance, but includes the diverse range of sensory, bodily engagements through which the situations of animal and food production are made to matter. The study explores how three aspects of this version of attention – ecological, economical and educational – interact at a moment of significant regulatory change to leave key methods of supporting and improving the situations of food businesses vulnerable and difficult to sustain. The article concludes by reflecting on the general and specific implications of this way of thinking about attention for how care in policy practice is understood, valued and protected.

The point of departure for this article is an astonishment at the recent increase in elderly women in fashion and beauty ads, and the question of what value this kind of photography may attribute to the ageing body and face in a visual culture whose association between youth and beauty forms one of the most influential constructions of ageism in Western culture. To attempt to answer this question, the article discusses the relationship between beauty, time and the ageing face, especially in beauty and fashion ads. The 2015 spring ad campaign for the luxury fashion brand Céline, which featured ‘celebrity writer’ Joan Didion, is used as a case study to examine how time and ageing coalesce in the construction of the ageing writer as cool. This article forms part of ‘Media and the Ageing Body’ Special Issue.

The title of this article alludes to Jacques Lacan’s text ‘Kant avec Sade’ (1963). With that in mind, the author compares Michael Fried’s Art and Objecthood (1998[1967) to Guy Debord’s The Society of the Spectacle, also published in 1967. Whereas Fried unleashes his criticism against ‘the condition of theatre’ and its mounting presence in the realm of visual culture, Debord accuses spectacle of ‘becoming a life style’, endorsed by power structures and fuelled by the media. Chances are that neither art nor objecthood, but rather the spectacle itself is ‘the chief product of present-day society’. Or should we agree that human beings are homo theatricals, for whom ‘the condition of theatre’ is an inalienable part of their ‘social contract’. Among the issues discussed here are ‘ Heterotopia of the spectacle’ (e.g. play within a play) and the ‘theatrical drive’, which plays a fundamental role in balancing the rivalry between libido (Eros) and the ‘death drive’ (Thanatos) in the playhouse of our psychic life.

Number lines, calendars, and measuring sticks all represent order along some dimension (e.g., magnitude) as position on a line. In high-literacy, industrialized societies, this principle of spatial organization— linear order—is a fixture of visual culture and everyday cognition. But what are the principle’s origins, and how did it become such a fixture? Three studies investigated intuitions about linear order in the Yupno, members of a culture of Papua New Guinea that lacks conventional representations involving ordered lines, and in U.S. undergraduates. Presented with cards representing differing sizes and numerosities, both groups arranged them using linear order or sometimes spatial grouping, a competing principle. But whereas the U.S. participants produced ordered lines in all tasks, strongly favoring a left-to-right format, the Yupno produced them less consistently, and with variable orientations. Conventional linear representations are thus not necessary to spark the intuition of linear order—which may have other experiential sources—but they nonetheless regiment when and how the principle is used.

The introduction to this symposium considers South African author and editor Ivan Vladislavić’s engagement with South African visual culture and the significance of this to his emergence as a “world writer”. The symposium opens with an article by Sean O’Toole, which provides a comprehensive biographical context for Vladislavić’s engagement with art and proposes that his oeuvre be understood as a unique form of “creative criticism”. In their articles, Sue Marais and Jane Poyner offer close readings that draw out the critical role played by the visual cultures of the rarefied art world and everyday life, respectively, in two key texts where this creative criticism is in evidence: “Curiouser” from The Exploded View (2004) and Portrait with Keys (2006). James Graham’s article examines the nature and outcomes of Vladislavić’s work with other writers and visual artists as an editor, providing a theoretical framework that connects the biographical and formal concerns of the other articles by illustrating the cooperative ethos that undergirds Vladislavić’s critical and creative engagement with visual culture. The symposium therefore illustrates Vladislavić’s critical role in the negotiation of globalized artistic and literary fields, and in the constellation of a South African “artworld”.

This article argues that South African author Ivan Vladislavić’s fictionalized memoir, Portrait with Keys: The City of Johannesburg Unlocked (2006), through its portrayal of visual culture and an enabling process of what the narrator, Vlad, calls “seeing and then seeing again” (2006: 89), “rehabilitates” (Coombes, 2003: 23) Johannesburg’s potentially alienating post-apartheid urban environment depicted in Portrait as having been indelibly inscribed by the apartheid state. Through the idea of “seeing and then seeing again”, I argue, the author stages an act of cultural rehabilitation, one that constitutes both artistic and ideological revision. Extending Walter Benjamin’s notion that the photographic image uniquely constellates the past and the present — of which “seeing and then seeing again” is therefore a form — I show that through his depiction of visual culture, Vladislavić engages critically with South African history in the present, and, consequently, his own historical position as white and thus always already a beneficiary of the apartheid regime. From this, I go on to argue that the method of “seeing and then seeing again” inverts the genre of Euroimperial travel writing theorized by Mary Louise Pratt in Imperial Eyes to lay bare questions of scopic power, including Vlad’s own.

While sociological learning and teaching is still dominated by the word, students are increasingly immersed in visual culture. Audio-visuals can be extremely powerful in their ability to communicate complex messages about the world and are growing in importance as a means of informing public debate. Recent developments in technology equip anyone with access to a computer or smartphone with the means to make a film. Getting students to make a short film seemed a way to cater to diverse skill sets and interests and facilitate authentic learning while simultaneously engaging students in a form of public sociology. This article examines Sociomentary, a recently developed undergraduate unit which, underpinned by critical media pedagogy, involved students in a new form of sociological knowledge production. It contributes to the collective effort of academics teaching sociology to find ways to engage students more deeply and assist them in engaging the world.

We live in the visual culture times, when images continuously and daily are transferring some information. A visual message is also an indispensable element of architecture, in the semantic layer as an aesthetic value, sometimes fulfilling a narrative function by means of a symbol, which is an international visual code. Most of the symbols, hidden in painting, sculpture, or architecture, are elements of nature. The article discusses examples of architecture whose form is based on a lotus flower. Unification of urban landscapes leads to a decrease in the value of aesthetic impressions; therefore, the unique architecture builds the unique identity of the place.

Plague Inc. is an enduringly popular mobile video game in which players create diseases and attempt to eradicate humanity; it has been downloaded more than 60 million times and been met with largely positive critical reception, with many reviews praising the game as a ‘realistic outbreak simulator’. This article explores Plague Inc. as both an artifact, and productive, of ‘pandemic culture’, a social imaginary that describes how the threat of pandemic increasingly shapes our day-to-day life. Ludic and narrative elements of the game were identified and selected for analysis, along with paratexts surrounding the game. Three aspects of Plague Inc. were used to structure the analysis: its politics of global scale, its viral realism, and its visual culture of contagion. The article examines how the ways in which Plague Inc. articulates ideas about pandemic may not only explain the game’s immense success but also provide insights into public perceptions and popular discourses about disease threats. The article argues that the game is an incomplete text that depends on preexisting familiarity with other disease media. It concludes that the popularity and longevity of Plague Inc., as well as its broader social relevance, can be explained by placing it within the context of public anxieties about vulnerability to infectious diseases.