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"This collection of classic essays in the study of visual culture fills a major gap in this new and expanding intellectual field. Its major strength is its insistence on the importance of three central aspects of the study of visual culture: the sign, the institution and the viewing subject. It will provide readers, teachers and students with an essential text in visual and cultural studies." - Janet Wolff, University of Rochester Visual Culture: The Reader provides an invaluable resource of over 30 key statements from a wide range of disciplines. Although underpinned by a focus on contemporary cultural theory, this reader puts issues of visual culture and the rhetoric of the image at centre stage. Divided into three parts, The Culture of the Visual, Regulating Photographic Meaning, Looking and Subjectivity, this reader enables students to make hitherto unmade connections across art, film and photography history and theory, semiotics, history, semiotics and communications, media studies, and cultural theory. The key statements are from the work of: Visual Culture: The Reader sets the agenda for the study of Visual Culture and will be an essential sourcebook for researchers and students alike. This is the reader for the module The Image and Visual Culture (D850) - part of The Open University Masters in Social Sciences Programme.
|Keywords||Image (Philosophy Visual perception Semiotics and the arts Photography|
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|Buy the book||$19.83 used (77% off) $35.94 new (58% off) $73.11 direct from Amazon (14% off) Amazon page|
|Call number||B105.I47.V58 1999|
|ISBN(s)||0761962476 0761962484 9780761962489|
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Black Book, Approached as a Textual System, Both Black Males (1983) and The Black Book (1986) Catalogue a Series of Perspectives, Vantage Points And'takes' on the Black Male Body. The First Thing to Notice-so Obvious It Goes Without Saying-is That All the Men Are Nude. Each of the Camera's Points of View Lead to a Unitary Vanishing Point: An Erotic/Aesthetic Objec. [REVIEW]
H. D. Buchloch, Glace Bay Studio & Cape Breton Press, Here is yet Another Book of Photographs. All Were Made in the Industrial and Coal-Mining Regions of Cape Breton in the Two Decades Between 1948 and 1968. All Were Made by One Man, a Commercial Photographer Named Leslie Shedden. At First Glance, the Economics of This Work Seem Simple and Common Enough: Proprietor of the Biggest and Only Successful Photo. [REVIEW]
Jessica Evans, A Fraction of a Second Into an Enduring Moment. A Photograph is Thus Epistemologically Complex, Making Available a Multitude of Deductive Logics. Thus, To. [REVIEW]
Jessica Evans, Unlike the More Technically Demanding Artisanal Modes of Drawing and Painting, Photography 'Presupposes Neither Academically Communicated Culture, nor The'.
Doane Femmes, Dark Continents: Epistemologies of Racial and Sexual Difference in Psychoanalysis and the Cinema Mary Ann Doane.
H. Fenichel & D. Rapaport Iondon, We Have Other Evidence to Show That Looking has the Unconscious Significance of Devouring. The Wolf in Little Red Riding Hood Declared, First, That He Had Such Hig Eyes, the Better to See His Victim and, Next, That He Had Such a Hig Mouth, the Better to Eat Her Up. Probably Every Psycho-Analyst Could Produce Analytical Material in Support of This Equation. [REVIEW]
Dick Hebdige, It Was Quite Self Indulgent. I Wanted It to Be Monthly so That You Were Out of That Weekly Rut; on Glossy Paper so That It Would Look Good; and with Very Few Ads-at NME the Awful Shapes of Ads Often Meant That You Couldn't Do What You Wanted with the Design.(Nick Logan, Publisher of The Face Interviewed In. [REVIEW]
P. Holland, J. Spence, H. D. Buchloch, Glace Bay Studio & Cape Breton Press, Every Image of the Past That is Not Recognised by the Present as One of its Own Threatens to Disappear Irretrievably.
P. Holland, J. Spence & S. Watney iLondon, Here is yet Another Book of Photographs. Al L Were Made in the Industrial and Coal-Mining Regions of Cape Breton in the Two Decades Between 1948 and 1968. All Were Made by One Man, a Commercial Photographer Named Leslie Shedden. At First Glance, the Economics of This Work Seem Simple and Common Enough: Proprietor of the Biggest and Only Successful Photo. [REVIEW]
Mapping Ideology, We Commonly Call Religious Ideology, Ethical Ideology, Legal Ideology, Political Ideology, Etc. So Many'world Outlooks'. Of Course, Assuming That We Do Not Live One of These Ideologies as the Truth (Eg'believe'in God, Duty, Justice, Etc....), We Admit That the Ideology We Are Discussing From a Critical Point of View, Examining It as the Ethnologist Examines the Myths Of. [REVIEW]
Black Males, With His Portraits of Patrons and Protagonists in the Post-Warhol New York Avant-Garde Milieu of the 1970s. In Turn He has Become Something of a Star Himself, as the Discourse of Journalists, Critics, Curators and Collectors has Woven a Mystique Around His Persona, Creating a Public Image of the Artist as Author Of'prints of Darkness'. 1 As He has Extended His Repertoire. [REVIEW]
Allan Sekula, This Chapter is Taken From Photography/Politics Two, Edited by P Holland. J. Spence and S.
Abigail Solomon-Godeau, Living with Contradictions: Critical Practices in the Age of Supply-Side Aesthetics.
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Citations of this work BETA
Elizabeth Grierson (2007). Difference: A Critical Investigation of the Creative Arts with Attention to Art as a Site of Knowledge. Educational Philosophy and Theory 39 (5):531–542.
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