Journal of Visual Culture最新文献_第7页

Safety Orange 安全橙色

IF 1.4 4区社会学

Journal of Visual Culture Pub Date : 2021-04-01 DOI: 10.1177/1470412921994603

A. Fisher

引用次数: 1

The crystal reveals the whole: medieval dreamscapes and cinematic space as virtual media 水晶揭示了整体:中世纪的梦境和电影空间作为虚拟媒体

IF 1.4 4区社会学

Journal of Visual Culture Pub Date : 2021-04-01 DOI: 10.1177/1470412921994617

A. Griffiths

{"title":"The crystal reveals the whole: medieval dreamscapes and cinematic space as virtual media","authors":"A. Griffiths","doi":"10.1177/1470412921994617","DOIUrl":"https://doi.org/10.1177/1470412921994617","url":null,"abstract":"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.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"20 1","pages":"85 - 112"},"PeriodicalIF":1.4,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1470412921994617","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43901149","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

Julia Adeney Thomas and Geoff Eley (eds), Visualizing Fascism: The Twentieth-Century Rise of the Global Right, reviewed by Mark Antliff 朱莉娅·阿登尼·托马斯和杰夫·埃利主编，《可视化法西斯主义:二十世纪全球右翼的崛起》，由马克·安特利夫审阅

IF 1.4 4区社会学

Journal of Visual Culture Pub Date : 2021-04-01 DOI: 10.1177/1470412921996294

Mark Antliff

引用次数: 0

Where Blackness dies: the aesthetics of a massacre and the violence of remembering 黑人在哪里死亡:大屠杀的美学和记忆的暴力

IF 1.4 4区社会学

Journal of Visual Culture Pub Date : 2021-04-01 DOI: 10.1177/1470412921999456

Xiomara Verenice Cervantes-Gómez

{"title":"Where Blackness dies: the aesthetics of a massacre and the violence of remembering","authors":"Xiomara Verenice Cervantes-Gómez","doi":"10.1177/1470412921999456","DOIUrl":"https://doi.org/10.1177/1470412921999456","url":null,"abstract":"This article focuses on the presence of ‘Blackness’ in Latin America, and the role/location of ‘Blackness’ in the necropolitics of Mexico, in particular, as a visual mode of aestheticizing violence in the aftermath of the 2010 Tamaulipas massacre of 72 undocumented migrants. As an act of remembering the victims, Mexican journalists, writers, and activists created a digital altar: 72 Migrantes. Focusing on photography and narrative as visual frames of Blackness, this article analyzes the representation of Black bodies in the digital altar to conceptualize Blackness as: a constitutive part of violent landscapes; a symptom and supplement of that violence; and, conversely, the location itself from which to critique that violence. At stake is a call for Blackness to be read within hemispheric Latin Americanist visual studies as a locus for understanding antisociality and critical race theory by closely studying the role of the human, social death, and the aesthetics of remembrance. Over 10 years after the massacre, the arguments raised in this article both implicitly and explicitly underscore the need to conceptualize contemporary Blackness and death in the wake of the growing anti-racism activism, Black Lives Matter, and the disproportionate number of people of color who have died as a result of the COVID-19 pandemic.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"20 1","pages":"25 - 47"},"PeriodicalIF":1.4,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1470412921999456","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48560457","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

Screenic fashion: horizontality, minimal materiality and manual operation 屏幕时尚：横向、最小的实质性和手动操作

IF 1.4 4区社会学

Journal of Visual Culture Pub Date : 2020-12-01 DOI: 10.1177/1470412920966012

M. Baronian

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引用次数: 0

After fashion film: social video and brand content in the influencer economy 继时尚电影之后:网红经济中的社交视频和品牌内容

IF 1.4 4区社会学

Journal of Visual Culture Pub Date : 2020-12-01 DOI: 10.1177/1470412920964907

Nick Rees-Roberts

{"title":"After fashion film: social video and brand content in the influencer economy","authors":"Nick Rees-Roberts","doi":"10.1177/1470412920964907","DOIUrl":"https://doi.org/10.1177/1470412920964907","url":null,"abstract":"Luxury and designer fashion brands today produce as much digital content and branded entertainment as they do design and product. Online video is a key part of that production. In this article, the author questions whether the use of the generic term ‘fashion film’ is still relevant to discussions of the moving image in the digital age. He does this by examining a range of promotional uses of the moving image by the fashion industry – by brands such as Gucci, Burberry and Louis Vuitton – on the social media platforms Instagram, YouTube and Snapchat, which blend design with media. This article seeks to engage critically with the branded dominance of ‘fashion film’ as a commercial phenomenon in contemporary visual culture by positioning it as a shape-shifting form of ‘content’ through the dissemination of moving images on social media, on mobile image-sharing platforms, in which the visual dynamic of the feed (of marketing and data) is now, in part, superseding the aesthetic framework of cinema (of narrative and drama). Rather than situating it primarily as part of film history, here the author situates the contemporary fashion-moving image at the intersection of digital interactivity, fashion branding and celebrity influence.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"19 1","pages":"405 - 421"},"PeriodicalIF":1.4,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1470412920964907","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46650851","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: 12

Excavating fashion film: a media archaeological perspective 挖掘时尚电影：媒介考古视角

IF 1.4 4区社会学

Journal of Visual Culture Pub Date : 2020-12-01 DOI: 10.1177/1470412920964915

Marketa Uhlirova

引用次数: 3

Review: Dan Karlholm and Keith Moxey (eds) Time in the History of Art: Temporality, Chronology and Anachrony 书评:丹·卡尔霍姆和基思·莫西主编，《艺术史中的时间:时间性、年代学和时代错误》

IF 1.4 4区社会学

Journal of Visual Culture Pub Date : 2020-12-01 DOI: 10.1177/1470412920936578

Ian Verstegen

引用次数: 0

Review: Gilles Deleuze, Letters and Other Texts, David Lapoujade (ed.), trans. Ames Hodges 书评:吉尔·德勒兹，《书信与其他文本》，大卫·拉普杰德主编，译。艾姆斯霍奇斯

IF 1.4 4区社会学

Journal of Visual Culture Pub Date : 2020-12-01 DOI: 10.1177/1470412920965128

Jae Emerling

{"title":"Review: Gilles Deleuze, Letters and Other Texts, David Lapoujade (ed.), trans. Ames Hodges","authors":"Jae Emerling","doi":"10.1177/1470412920965128","DOIUrl":"https://doi.org/10.1177/1470412920965128","url":null,"abstract":"This book is an odd collection of Deleuze ephemera: letters, some ink drawings, reviews, interviews, and a few writings from early (1940s–1950s) in his academic career. These materials are epiphenomena: archival remnants that present us with a certain ambivalence. On one hand, these remnants will entertain Deleuze scholars, whose scholia will value Deleuze’s exam and course preparation materials on David Hume as well as the 15 letters to Félix Guattari collected here wherein we discover the first mention of a work of art as an ‘abstract machine’ (p. 43). On the other hand, Deleuze lived and worked so that there would be no need for an archive. Deleuze was no archivist. We know this not only because he destroyed his correspondence with Alain Badiou in late 1994, but also because Deleuze’s work tells us as much time and again. In the letters presented here we read: ‘Don’t think that I am a compulsive letter writer or that I have a sense of dialogue, I hate it’ (p. 72). Even the editor David Lapoujade writes that ‘there are no letters from these correspondents because Deleuze did not keep any mail’: ‘he differed in this way from other authors who considered their letters to be extensions of their work’ (p. 7). The ephemera presented here must be complemented with the more significant posthumous volumes of Deleuze’s work that we have in English, namely Desert Islands and Other Texts 1953–1974 (2004) and Two Regimes of Madness: Texts and Interviews 1975–1995 (2006). But this only helps if these texts intensify our relation to the work published by Deleuze, to the sheer inexhaustibility of the concepts presented there: multiplicity as a substantive repetition as opposed to reproduction, duration and immanence.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"19 1","pages":"433 - 436"},"PeriodicalIF":1.4,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1470412920965128","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48970669","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

Introduction: touch, click and motion: archaeologies of fashion film after digital culture 简介：触摸、点击和运动：数字文化之后的时尚电影考古

IF 1.4 4区社会学

Journal of Visual Culture Pub Date : 2020-12-01 DOI: 10.1177/1470412920966015

C. Evans, J. Parikka

引用次数: 4