Journal of Visual Culture最新文献

{"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":"21 1","pages":"297 - 320"},"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":"21 1","pages":"349 - 373"},"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":"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":"21 1","pages":"321 - 348"},"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":"‘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":"21 1","pages":"277 - 296"},"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":"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":"21 1","pages":"161 - 164"},"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}

{"title":"Rupture, not injury: reframing repair for Black and Indigenous youth experiencing school pushout","authors":"Jade Nixon, Sefanit Habtom, E. Tuck","doi":"10.1177/14704129221088300","DOIUrl":"https://doi.org/10.1177/14704129221088300","url":null,"abstract":"In this article, the authors describe their multi-year youth participatory action research project, Making Sense of Movements (MSOM), with Black and Indigenous high school students in Toronto. Youth co-researchers in MSOM designed a study on school pushout that reveals the pervasiveness of racism in schools and the inadequacy of responses to racist incidents by school personnel. School staff and teachers often treat racist incidents as isolated events that can be easily resolved. However, the authors situate Black and Indigenous students’ experiences of racism in their high schools within the ongoing legacies of settlement and slavery. Learning from Black and Indigenous feminist theories of rupture and refusal – see Hartman’s Scenes of Subjection: Terror, Slavery, and Self-Making in Nineteenth-Century America (1997); Simpson’s Mohawk Interruptus: Political Life across the Borders of Settler States (2014); and Tuck and Yang’s ‘Decolonization is not a metaphor’ (2012) – the authors invite readers to reframe the assumed ease and completeness of repair. They theorize racism and antiblackness as a rupture rather than an injury, which has important implications for school policy and how schools address racism. By moving beyond reparative frameworks, the authors engage rupture as a more meaningful starting place.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"21 1","pages":"132 - 160"},"PeriodicalIF":1.4,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43085685","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":"Transgressive frames","authors":"Nataleah Hunter-Young","doi":"10.1177/14704129221088295","DOIUrl":"https://doi.org/10.1177/14704129221088295","url":null,"abstract":"This article revisits the lynching photograph to consider the rhetorical and cultural practices that instructed the unseeing of white mobs for what it reveals about dematerializing representations of the state in social media imagery documenting anti-Black police brutality. To do this, the author draws on creative, curatorial, and architectural examples that bring the eye into confrontation with the state’s hidden hand – the rig that naturalizes the public’s first-person (shooter) perspective, the body-worn or (para)surveillance camera footage, obscuring contemporary lynching’s stately face from public view. The author reflects on the staging and circulation of lynching photography as well as the exhibition of representative artistic renderings; an example of transgressive spatial engagement at the recently opened National Memorial for Peace and Justice in Montgomery, Alabama; and then turning to Canada, the author offers a case study that considers the outer-national visual implications, concluding with example works by visual artists, Anique Jordan and Jalani Morgan, whose transgressive creative practices demonstrate disinvestments in repair.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"21 1","pages":"111 - 131"},"PeriodicalIF":1.4,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43396727","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 art of repair: naming violence in the work of FX Harsono","authors":"K. Strassler","doi":"10.1177/14704129221088292","DOIUrl":"https://doi.org/10.1177/14704129221088292","url":null,"abstract":"Since the end of authoritarian rule in Indonesia in 1998 and the anti-Chinese violence that attended it, the artist FX Harsono has created a series of works addressing the name as a site of racialized state violence, cultural identity, erasure, recovery, and repair. Through an examination of Harsono’s works, this article asks: How can art put forward a reparative vision in a context of impunity, forgetting, and ongoing discrimination? How do the sonic and visual qualities of ethnic Chinese names register affective claims of resilience and survival against a backdrop of violence and loss? Rather than focus on exposing past harms or demanding redress, Harsono’s artworks render visible the quiet, partial, and persistent repair-work undertaken within the ethnic Chinese community in the aftermath of violence, and use these practices as an idiom for an art of repair addressed to the broader Indonesian community.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"21 1","pages":"165 - 189"},"PeriodicalIF":1.4,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41371831","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":"Jennifer Bajorek, Unfixed: Photography and Decolonial Imagination in West Africa, reviewed by Yann Petit","authors":"Yann K. Petit","doi":"10.1177/14704129221097604","DOIUrl":"https://doi.org/10.1177/14704129221097604","url":null,"abstract":"Jennifer Bajorek’s Unfixed: Photography and Decolonial Imagination in West Africa introduces itself as telling ‘a history that has, in a sense, already been written – in photographs’ (p. 1). A respected translator of Jacques Derrida, Bajorek deconstructs the ever-changing lives of photographs in the cities of Dakar, Saint-Louis, Porto-Novo, and Cotonou to reconnect contemporary Senegalese and Beninese populations to an archive that few, if any, have delved into. Despite this lack of scholarship on the subject, Bajorek renders visible, even at times tangible, the socio-political changes photographers captured and catalyzed.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"21 1","pages":"233 - 237"},"PeriodicalIF":1.4,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41443932","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":"Re-processing archival images: artists as darkroom technicians","authors":"J. Nguyễn","doi":"10.1177/14704129221088302","DOIUrl":"https://doi.org/10.1177/14704129221088302","url":null,"abstract":"This article argues for the need to reflect on how contemporary artists use archival documents as a form of visual reparation. Artists Deanna Bowen, Krista Belle Stewart and Jacqueline Hoàng Nguyễn developed strategies for critically casting the past into the present in their own video work by relying on state-sanctioned archival images, specifically documents produced by and kept by the Canadian Broadcasting Company (CBC), once intended for a white audience. The author argues that these artists rely on their corporeal knowledge as, in photographic terminology, developer baths for re-processing latent historical images. The nexus of production labour and artistic research by self-identified BIPOC (Black, Indigenous, and People(s) of Colour) artists becomes a site for creative reparations and for a future world-making.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"21 1","pages":"90 - 110"},"PeriodicalIF":1.4,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65413399","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}