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Journal of Visual Culture最新文献

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Dirty encounters: Pier Paolo Pasolini’s legacy in David Wojnarowicz’s work 肮脏的相遇:皮埃尔·保罗·帕索里尼在大卫·沃纳洛维奇作品中的遗产
IF 1.4 4区 社会学
Journal of Visual Culture Pub Date : 2022-12-01 DOI: 10.1177/14704129221139864
G. Annovi
{"title":"Dirty encounters: Pier Paolo Pasolini’s legacy in David Wojnarowicz’s work","authors":"G. Annovi","doi":"10.1177/14704129221139864","DOIUrl":"https://doi.org/10.1177/14704129221139864","url":null,"abstract":"One of the last works by celebrated New York artist David Wojnarowicz is a black-and-white photograph of the artist’s face buried in the dirt. The photograph was staged in 1991, less than one year before the artist died of AIDS. Until now, Wojnarowicz’s photograph has been interpreted as the image of a burial, a reference to the artist’s impending death. This article compares Wojnarowicz’s photo to one of the last scenes of Pier Paolo Pasolini’s Teorema (1968). The case of (Untitled) Face in Dirt and Teorema indicates the existence of a potentially complex relationship between Wojnarowicz and Pasolini, two queer artists who used provocation and sexual transgression to criticize capitalist society through their work. In this article, this complex relationship is explored to show, on the one hand, the import of Pasolini’s cinematographic and literary work in New York’s underground art scene of the 1980s. On the other, it demonstrates that Wojnarowicz’s last work conveys a positive message about his artistic legacy and future.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"21 1","pages":"425 - 460"},"PeriodicalIF":1.4,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65413435","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
The Iran Portfolio 伊朗投资组合
IF 1.4 4区 社会学
Journal of Visual Culture Pub Date : 2022-12-01 DOI: 10.1177/14704129231157630
Sadaf Javdani, Bahar Noorizadeh
{"title":"The Iran Portfolio","authors":"Sadaf Javdani, Bahar Noorizadeh","doi":"10.1177/14704129231157630","DOIUrl":"https://doi.org/10.1177/14704129231157630","url":null,"abstract":"","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"21 1","pages":"461 - 494"},"PeriodicalIF":1.4,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41655587","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
‘Words have a charge’: six moments from a dialogue “言语有力量”:对话中的六个瞬间
IF 1.4 4区 社会学
Journal of Visual Culture Pub Date : 2022-12-01 DOI: 10.1177/14704129221142279
Homi K. Bhabha, Jae Emerling
{"title":"‘Words have a charge’: six moments from a dialogue","authors":"Homi K. Bhabha, Jae Emerling","doi":"10.1177/14704129221142279","DOIUrl":"https://doi.org/10.1177/14704129221142279","url":null,"abstract":"This conversation contains ‘moments’ from a dialogue between the esteemed scholar Homi K Bhabha and Journal of Visual Culture editor Jae Emerling that took place at Harvard University on 7 March 2022. As part of the 20th anniversary celebrations of the journal’s founding, it was essential to include voices whose work, presence within the world, and poetic insights traverse the entirety of visual culture studies. Bhabha is certainly such a voice for our Editorial Collective, past and present. The goal of this open dialogue, if there is a single one, was to have a real conversation about Bhabha’s vital current projects, which address the socio-economic, political, and cultural dangers facing all of us. But it is also a hopeful discussion about the ‘survival’ of the theoretical humanities in the 21st century. We hope that it reads as dialogic-radiating lines passing through the singular points that shape the history of our present, while always remaining open and attentive to the unforeseen actualizations of the past–future events that compose each of us individually and collectively.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"21 1","pages":"410 - 424"},"PeriodicalIF":1.4,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42031466","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Dust against the Anthropocene: Yhonnie Scarce’s nuclear geo-fictions 人类世的尘埃：伊恩·斯卡斯的核地理小说
IF 1.4 4区 社会学
Journal of Visual Culture Pub Date : 2022-12-01 DOI: 10.1177/14704129221136217
Andrew Weir
{"title":"Dust against the Anthropocene: Yhonnie Scarce’s nuclear geo-fictions","authors":"Andrew Weir","doi":"10.1177/14704129221136217","DOIUrl":"https://doi.org/10.1177/14704129221136217","url":null,"abstract":"Against the universalizing of the Anthropocene, radioactive dust affects specific communities more than others. At the same time, it carries particles from local sites to cosmic horizons. Uranium dust encodes deep timescales of planetary formation and extinction as they intersect with histories of violence and extraction, myth and current politics. This article analyses artwork by Yhonnie Scarce, descendant of the Kokatha and Nukunu peoples of South Australia, arguing for a particulate geo-fiction as method of engagement with colonial politics of deep time. By sampling and literally unearthing nuclear histories, Scarce’s work traces more-than-human toxic ecologies. Through a condensation of uranium-scale temporalities, the present moment of its exhibition is prised open. This becomes a speculative ethical encounter with responsibilities to deep histories and futures beyond itself, the lingering after effects of British colonial violence inscribed into the materiality of the work.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"21 1","pages":"495 - 514"},"PeriodicalIF":1.4,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42542940","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Infrastructural fugitivity: contraband cellphones, TikTok, and vital media behind bars 基础设施的隐蔽性：监狱里的违禁手机、TikTok和重要媒体
IF 1.4 4区 社会学
Journal of Visual Culture Pub Date : 2022-12-01 DOI: 10.1177/14704129221141922
Jasmin Ehrhardt, Lisa Nakamura
{"title":"Infrastructural fugitivity: contraband cellphones, TikTok, and vital media behind bars","authors":"Jasmin Ehrhardt, Lisa Nakamura","doi":"10.1177/14704129221141922","DOIUrl":"https://doi.org/10.1177/14704129221141922","url":null,"abstract":"This article engages with TikToks created by incarcerated people using contraband cellphones. We read the #PrisonTok hashtag as part of a new genre of digital media created by imprisoned people that invites users to learn directly from them about everyday life behind bars, some of which includes producing and consuming digital media and memetic culture through practices of infrastructural fugitivity. TikTok’s affordances permit imprisoned people to share and demystify aspects of their everyday lives such as cooking, charging phones and maintaining digital infrastructure, despite prison rules prohibiting prisoners from owning phones. We discuss viral TikTok users such as Jeron Combs whose cooking videos have attracted millions of viewers, and conclude with an analysis of #PrisonTok’s implications for both media, visual culture and carceral studies. We do this to submit a framework for scholars, as well as free-world people broadly, to engage with illicit digital media created by imprisoned people.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"21 1","pages":"390 - 409"},"PeriodicalIF":1.4,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45692275","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Jae Emerling, Vivre sa vie pour JLG Jae Emerling，为JLG生活
IF 1.4 4区 社会学
Journal of Visual Culture Pub Date : 2022-12-01 DOI: 10.1177/14704129221142493
Jae Emerling
{"title":"Jae Emerling, Vivre sa vie pour JLG","authors":"Jae Emerling","doi":"10.1177/14704129221142493","DOIUrl":"https://doi.org/10.1177/14704129221142493","url":null,"abstract":"","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"21 1","pages":"515 - 519"},"PeriodicalIF":1.4,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42808575","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Amelia Jones, In-Between Subjects: A Critical Genealogy of Queer Performance Amelia Jones and Andy Campbell (eds), Queer Communion: Ron Athey, reviewed by Kimberly Lamm 阿米莉亚·琼斯，《中间主题:酷儿表演的关键谱系》阿米莉亚·琼斯和安迪·坎贝尔(编)，《酷儿交流:罗恩·艾希》，金伯利·拉姆评论
IF 1.4 4区 社会学
Journal of Visual Culture Pub Date : 2022-08-01 DOI: 10.1177/14704129221125769
Kimberly Lamm
{"title":"Amelia Jones, In-Between Subjects: A Critical Genealogy of Queer Performance Amelia Jones and Andy Campbell (eds), Queer Communion: Ron Athey, reviewed by Kimberly Lamm","authors":"Kimberly Lamm","doi":"10.1177/14704129221125769","DOIUrl":"https://doi.org/10.1177/14704129221125769","url":null,"abstract":"For Amelia Jones, performance art reveals the fault lines in dominant cultural orders and brings them to light. She has devoted her formidable energies to tracing these acts of excavation and disclosing how feminist, queer, and anti-racist politics animate them. Two recently published books, In-Between Subjects: A Critical Genealogy of Queer Performance (2021) and Queer Communion: Ron Athey (2020) (co-edited with Andy Campbell) underscore how serious her commitment is. These studies are intimate allies and they illuminate why performance and sexuality have warranted a lifetime of exploration: Jones sees the full liberatory range of erotic life in performance. It allows sexuality to be unpredictably alive and imbued with contingency, not a thing to possess but a process that unfolds by responding deeply to and with others. Creating and modeling the risks of intimate encounters, performance allows the vulnerabilities of marginalized bodies to transform shame and isolation into radically inclusive forms of belonging. Introducing In-Between Subjects, Jones writes that performance allows us to ‘enact’ rather than ‘suppress’ or ‘contain’ the ‘messy, durational, relational, and disorienting aspects of being a person in the world’ (p. 24). Jones’s scholarship shows that performance creates worlds in which such enactments must be fought for but are always possible.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"21 1","pages":"382 - 386"},"PeriodicalIF":1.4,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48079025","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Christiano Bianchi and Kristina Drapić, Model City Pyongyang, reviewed by Marc Kosciejew Christiano Bianchi和Kristina Drapić，模范城市平壤，Marc Kosciejew评论
IF 1.4 4区 社会学
Journal of Visual Culture Pub Date : 2022-08-01 DOI: 10.1177/14704129221125767
Marc R. H. Kosciejew
{"title":"Christiano Bianchi and Kristina Drapić, Model City Pyongyang, reviewed by Marc Kosciejew","authors":"Marc R. H. Kosciejew","doi":"10.1177/14704129221125767","DOIUrl":"https://doi.org/10.1177/14704129221125767","url":null,"abstract":"In Model City Pyongyang, the architects Cristiano Bianchi and Kristina Drapić shed light on this shrouded city by showing sumptuous photographs of its bizarre, yet beautiful, urban landscape. Specifically, Bianchi and Drapić provide a vibrant visual journey through the so-called hermit kingdom’s cryptic capital featuring 200 fanciful illustrations of buildings, structures and streetscapes rarely seen by foreigners. Adopting a photographic rather than textual approach to analysing the city, they explain that they ‘chose to communicate what we saw and the impressions we later digested through our photographs’ (pp. 13–15). By offering this extraordinary visual access to Pyongyang’s severely restricted world, they immerse readers in a seemingly different dimension, one full of elaborate symbolism. Indeed, this unparalleled photographic perspective reveals the extreme and singular ideological design of a city unseen elsewhere.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"21 1","pages":"374 - 377"},"PeriodicalIF":1.4,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41800659","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
The Haitian zombie motif: against the banality of antiblack violence 海地僵尸主题:反对单调的反黑人暴力
IF 1.4 4区 社会学
Journal of Visual Culture Pub Date : 2022-08-01 DOI: 10.1177/14704129221112976
Darlène Dubuisson
{"title":"The Haitian zombie motif: against the banality of antiblack violence","authors":"Darlène Dubuisson","doi":"10.1177/14704129221112976","DOIUrl":"https://doi.org/10.1177/14704129221112976","url":null,"abstract":"The circulation and consumption of the images of suffering and lifeless black bodies is a longstanding feature of US visual media. Since each archive of suffering and dead black bodies operates within specific histories, discourses, and affective relationships, this article examines a particular collection of images: the Time magazine photos of the 2010 Haiti earthquake victims. The article argues that the photos evoke the uncanny by using the Haitian zombie motif – an image of ‘monstrous’ black racial difference. The article traces the photos’ elicitation of the uncanny in two ways: one, it highlights how the images produce self/other slippages and thus affirm the uncanny; and two, it examines the insidious and violent ways these slippages dehumanize, dismember, and dispossess those depicted to produce a ‘negative familiarity’ for the non-black observer, thus lending to the banality of antiblack violence. The article ends with a call for ‘radical empathy’ to combat this violence.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"21 1","pages":"255 - 276"},"PeriodicalIF":1.4,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46266137","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Eugenie Brinkema, Life-Destroying Diagrams, reviewed by Marissa C de Baca Eugenie Brinkema，《毁灭生命的图表》，Marissa C de Baca评论
IF 1.4 4区 社会学
Journal of Visual Culture Pub Date : 2022-08-01 DOI: 10.1177/14704129221125768
Marissa C. de Baca
{"title":"Eugenie Brinkema, Life-Destroying Diagrams, reviewed by Marissa C de Baca","authors":"Marissa C. de Baca","doi":"10.1177/14704129221125768","DOIUrl":"https://doi.org/10.1177/14704129221125768","url":null,"abstract":"Akin to the teardrop that opens Eugenie Brinkema’s first work, The Forms of the Affects (2014), her latest book, Life-Destroying Diagrams, commences with another signifier bound to the body: the neck. Through the neck, Brinkema critiques how established scholarship such as Linda Williams’s (1991) body genres, Noël Carroll’s (1990) aesthetic philosophy of horror, or James Twitchell’s (1985) Dreadful Pleasures has thought through horror exclusively as a bodily affect: the sensations of a shiver or the goosebumps on skin. ‘I am done with the neck’, Brinkema states as her opening salvo against privileging the body and thus limiting affective interpretations of horror (p. 1). Brinkema’s ingenious solution to the body problem – or otherwise, when affective teleology is only thought through the body – is to rethink horror through form. Therefore grids, charts, diagrams, hexagons, lines, circles, or tempo are deployed to activate affective potential. Yet, as the author makes clear, this book is not about horror, but about reading affect from form. Consequently, Life-Destroying Diagrams reinstitutes Brinkema’s theory of radical formalism, which demands ‘a return to the speculative ground or roots of what thinking can claim’ by launching a text’s potential through ‘readings that proceed without guarantee’ (p. 21). What results in Life-Destroying Diagrams is a provocative and commanding intervention into aesthetic theory that can enliven what has already been preconceived within scholarship on horror and within the larger fields of Visual Culture Studies, Literary Studies, Cinema Studies, and Continental Philosophy.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"21 1","pages":"378 - 381"},"PeriodicalIF":1.4,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44334498","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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