Journal of Visual Culture最新文献

{"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":null,"pages":null},"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}

{"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":null,"pages":null},"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}

{"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":null,"pages":null},"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}

{"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":null,"pages":null},"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}

{"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":null,"pages":null},"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}

{"title":"Trans visibility and trans viability: a Roundtable","authors":"Marquis Bey, Kara Carmack, Jill H. Casid, KJ Cerankowski, S. Crasnow, Stamatina Gregory, J. Halberstam, Lex Morgan Lancaster, Cyle Metzger, Kirstin Ringelberg, Cole Rizki, Wiley Sharp, Eliza Steinbock, Susan Stryker","doi":"10.1177/14704129221123844","DOIUrl":"https://doi.org/10.1177/14704129221123844","url":null,"abstract":"This Roundtable is crafted from the online event held on Saturday 20 November 2021 on Trans Visual Cultures. That event was organized to celebrate the recently published themed issue of Journal of Visual Culture on new work in transgender art and visual cultures, guest edited by Cyle Metzger and Kirstin Ringelberg, and suggested for the journal by Jill H Casid. The themed issue emerged from a session run at the College Art Association in New York, 2018, programmed by Metzger and Ringelberg. For the event in November 2021, some of the contributors to the journal’s themed issue (Kara Carmack, Sascha Crasnow, Stamatina Gregory, Cyle Metzger and Kirstin Ringelberg) were joined by interlocutor Jill Casid, and respondent Jack Halberstam to share their thoughts on trans visual culture/s now, and to consider what it is to write trans visual culture, as well as to live in relation to transness. The event happened to fall on Transgender Day of Remembrance. Given the fraught or ambivalent feelings that many have about such a day, the event was also taken as an occasion to talk about ways of untethering trans visibility from what is lethal to trans viability. After the event, the organizers solicited a few additional reflections on concerns that emerged – in particular around matters of the visual, trans visibility, and lived experience. These are brought together to act as a refractive prism for what happens when we center thinking seriously with the implications and potentials of trans art and visual culture for trans hopes and fears, kinship and community, lives and loves. The publication of this Roundtable takes the themed issue as a crucial springboard for critical, transversal trans* imaginings of the variant worlds to be unfolded by undoing the lock of the gender binary and its settler colonial and white supremacist violences, and to further the demand that thinking with trans alters substantially the ways we approach the visual.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47224462","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}

{"title":"Rethinking the Phantasmagoria: an enclosure and three worlds","authors":"F. Casetti","doi":"10.1177/14704129221112975","DOIUrl":"https://doi.org/10.1177/14704129221112975","url":null,"abstract":"The Phantasmagoria was not just a spectacle based on projections of images of ghosts and monsters. Relying upon new archival findings, this article claims that the Phantasmagoria was instead an optical–environmental dispositive that combined an enclosed space with the exploration of three worlds: the otherworld of the Dead, the physical world of Nature, and the inner world of spectators’ Interiority. While its ultimate goal was to provide an unconventional map of the three domains that were of the greatest interest at the time, its combined interest in a spatial arrangement and a visual address suggests the need for a new, rhizomatic archaeology in which to include the screen-based dispositives.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42503766","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}

{"title":"‘C’est grave’: Raw, cannibalism and the racializing logic of white feminism","authors":"Rosalind Galt, Annette-Carina van der Zaag","doi":"10.1177/14704129221112972","DOIUrl":"https://doi.org/10.1177/14704129221112972","url":null,"abstract":"This article addresses the racializing logic of white feminism and its alignment with white heteronormative registers of human life. It does so by considering Julia Ducournau’s (2017) film Raw in relation to cannibalism’s intersections of gender, sexuality and race. The film invokes feminist pleasures, centring on female desire and pitting Justine’s compulsive appetites against an inflexible social hierarchy of gender and species. However, its articulation of cannibal consumption and female subjectivity is dangerously ambivalent. By focusing on the colonial history and racializing logic of the cannibal, this article reads Raw as symptomatic of the subjective formations and social violence of white feminism. Raw portrays cannibalism as a feminist practice of posthuman resistance, but its seductive appeal also produces a troubling ambivalence around non-white and queer bodies, which resonates with black critiques of posthumanism’s reproduction of whiteness. The film invites us to inhabit our raw desires as a monstrous resistance, but what genres of human and nonhuman haunt this politics of monstrosity?","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43431954","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}

{"title":"Visual lawfare: evidential imagery at the service of military objectives","authors":"Maayan Amir","doi":"10.1177/14704129221112971","DOIUrl":"https://doi.org/10.1177/14704129221112971","url":null,"abstract":"While chemical attacks are rare and deemed an illegitimate form of warfare, the attempt to exploit international law in order to license military action is an eerily common custom. The practice of deploying a legal system to promote military objectives is now widely known as lawfare. In this article, the author focuses on what she calls visual lawfare, namely the weaponization of visual documentation used to provide evidence in order to either prove compliance, or to demonstrate violations, of international laws of warfare through appeal to a legal forum, in order to facilitate a military objective. Drawing on endeavours to affect the United Nations Security Council resolutions in the context of the Syrian Civil War, in addition to revisiting selected lawfare scholarship while providing the new concept of ‘visual lawfare’ itself, she expands on how visual evidence is employed or produced to sanction the lawful use of violence while citing international codes of conduct.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43579338","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}

{"title":"This is where my eyes rest, 2021","authors":"Peter Morin","doi":"10.1177/14704129221124448","DOIUrl":"https://doi.org/10.1177/14704129221124448","url":null,"abstract":"","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48729352","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}