| 000 | 03102cam a2200421 i 4500 | ||
|---|---|---|---|
| 001 | 17924093 | ||
| 003 | BD-DhUL | ||
| 005 | 20161226185015.0 | ||
| 008 | 131031s2013 enka b 001 0 eng | ||
| 010 | _a 2013041783 | ||
| 020 | _a9781137020390 (hardback) | ||
| 040 |
_aDLC _beng _cBD-DhUL _erda _dDLC |
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| 042 | _apcc | ||
| 082 | 0 | 0 |
_a700.4552 _223 _bMOV |
| 100 | 1 |
_aMöller, Frank, _d1963- |
|
| 245 | 1 | 0 |
_aVisual peace : _bimages, spectatorship, and the politics of violence / _cFrank Möller. |
| 260 |
_aLondon : _bPalgrave Macmillan, _c2013 |
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| 264 | 1 |
_aHoundmills, Basingstoke, Hampshire ; _aNew York, NY : _bPalgrave Macmillan, _c2013. |
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| 300 |
_axiv, 259 p. : _bill. ; _c22 cm. |
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| 336 |
_atext _2rdacontent |
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| 337 |
_aunmediated _2rdamedia |
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| 338 |
_avolume _2rdacarrier |
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| 490 | 0 | _aRethinking peace and conflict studies | |
| 505 | 8 | _aMachine generated contents note: -- List of Figures -- PART I -- Introduction - Impressions: Stretching the Limits of Representations -- 1. Ambiguities, Approximations, Abstractions -- 2. The Participant Witness -- 3. Reflections on Photojournalism -- PART II -- 4. The Aftermath: Visions of Rwanda -- Portfolio 1: Rafiki Ubaldo, Temples of Memory -- 5. Visual Interventions in Rio de Janeiro's Culture of Violence -- 6. On Combatants and (Other) Victims -- Portfolio 2: Manuel Botelho, Aerogramas para 2010 -- 7. WHY - ARE - WE - SO - INVOLVED? -- Unfinished Business -- Notes. | |
| 520 |
_a"This unique study offers a political analysis of the relationship between visual representations and the politics of violence both nationally and internationally. It emphasizes the spectator and his or her own involvement in, responsibility for, and potential responses to the conditions depicted in given images. Through a series of case studies which engage with visual representations of the politics of violence, such as the aftermath of the 1994 genocide in Rwanda and the visualization of colonial memory, it analyzes the relationship between visibility and political agency and elaborates the extent to which people who have normally been subjects of the image production of others can become agents of their own image. This book's comprehensive analysis of different genres including photography, graphic novels, comics and paintings introduces a new research agenda for the emerging field of visual peace. "-- _cProvided by publisher. |
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| 650 | 0 |
_aViolence _xPolitical aspects. |
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| 650 | 0 | _aViolence in art. | |
| 650 | 0 |
_aDocumentary photography _xPolitical aspects. |
|
| 650 | 0 |
_aVisual communication _xPolitical aspects. |
|
| 650 | 7 |
_aART / Art & Politics. _2bisacsh |
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| 650 | 7 |
_aPHOTOGRAPHY / Photojournalism. _2bisacsh |
|
| 650 | 7 |
_aPOLITICAL SCIENCE / International Relations / General. _2bisacsh |
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| 650 | 7 |
_aPOLITICAL SCIENCE / Peace. _2bisacsh |
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| 856 | 4 | 2 |
_3Cover image _uhttp://www.netread.com/jcusers2/bk1388/390/9781137020390/image/lgcover.9781137020390.jpg |
| 906 |
_a7 _bcbc _corignew _d1 _eecip _f20 _gy-gencatlg |
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| 942 |
_2ddc _cBK |
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| 955 |
_brf04 2013-10-31 _irf04 2013-10-31 ONIX (telework) to Dewey |
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| 999 |
_c141958 _d141958 |
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