Pub Date : 2023-11-21DOI: 10.1080/08949468.2023.2208480
Sergei Akopov
This article approaches an emerging archipelago of visual biopolitics from two grounds: ontological security studies, and black feminist existentialism. The first perspective deals with visual repr...
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Pub Date : 2023-11-21DOI: 10.1080/08949468.2023.2207452
Aliaksei Kazharski
This article analyzes the 2021–22 migration crisis at the EU-Belarus border through the conceptual lens of visual biopolitics. Based on data available from the regime-run media in Belarus it demons...
{"title":"An Authoritarian Spectacle: Visual Biopolitics and the Dramaturgy of the Poland-Belarus Border Migration Crisis","authors":"Aliaksei Kazharski","doi":"10.1080/08949468.2023.2207452","DOIUrl":"https://doi.org/10.1080/08949468.2023.2207452","url":null,"abstract":"This article analyzes the 2021–22 migration crisis at the EU-Belarus border through the conceptual lens of visual biopolitics. Based on data available from the regime-run media in Belarus it demons...","PeriodicalId":44055,"journal":{"name":"Visual Anthropology","volume":"49 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138540465","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-21DOI: 10.1080/08949468.2023.2213146
Evija Djatkoviča
I enact the personal epistemology standpoint to illustrate how my ontology and personal experience transformed my knowledge about the war in eastern Ukraine. Guiding the reader through my visual an...
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Pub Date : 2023-11-21DOI: 10.1080/08949468.2023.2210025
Michael Cole
This article explores visual responses in Georgian cities, during April and May 2022, to Russia’s war on Ukraine. Combining visual discourse analysis of “zeitgeist cultural objects” with insights f...
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Pub Date : 2023-05-19DOI: 10.1080/08949468.2023.2203296
Payel Pal, Goutam Karmakar
In recent years several Hindi films have been produced that delineate the difficulties and challenges faced by Indian athletes and boxers, and highlight their sociocultural struggles in asserting their pursuit of and passion for their sport. Mary Kom (2014) is one such Hindi-language biographical sports film based on the life of the eponymous boxer Mary Kom, a film that brings to the foreground the ingrained social prejudices, gender biases and marginalization that affect the personal lives of sportswomen and play decisive roles in shaping their career trajectories. Here we contend that biopics like Mary Kom are immensely significant in delinking the dominant epistemologies, ideologies and interpretations, undermining the controlling vision and visibility, and broadening the horizons of understanding through visual representations. Biopics on sportswomen, in uncovering stories of their astounding achievements, generate alternative epistemologies and disentangle the epistemologies of sportswomen from the exclusive epistemic domain of men. The article examines Mary Kom from the standpoint of “aesthetic epistemology,” a way of producing knowledge in which visualizations are intended to convey something invisible to the spectator and heighten their epistemic awareness. Finally, the article argues that biopics like Mary Kom emphasize plural modes of knowing and recognizing the hegemonized epistemologies and ontologies of Indian sportswomen, and thereby interrogate the logocentrism of power and the governmentality of male-centered Hindi sports films.
{"title":"(In)visibility, Mediated, and Sporting Perceptions: Bollywood, Biopics, and the Epistemic Turn in Mary Kom","authors":"Payel Pal, Goutam Karmakar","doi":"10.1080/08949468.2023.2203296","DOIUrl":"https://doi.org/10.1080/08949468.2023.2203296","url":null,"abstract":"In recent years several Hindi films have been produced that delineate the difficulties and challenges faced by Indian athletes and boxers, and highlight their sociocultural struggles in asserting their pursuit of and passion for their sport. Mary Kom (2014) is one such Hindi-language biographical sports film based on the life of the eponymous boxer Mary Kom, a film that brings to the foreground the ingrained social prejudices, gender biases and marginalization that affect the personal lives of sportswomen and play decisive roles in shaping their career trajectories. Here we contend that biopics like Mary Kom are immensely significant in delinking the dominant epistemologies, ideologies and interpretations, undermining the controlling vision and visibility, and broadening the horizons of understanding through visual representations. Biopics on sportswomen, in uncovering stories of their astounding achievements, generate alternative epistemologies and disentangle the epistemologies of sportswomen from the exclusive epistemic domain of men. The article examines Mary Kom from the standpoint of “aesthetic epistemology,” a way of producing knowledge in which visualizations are intended to convey something invisible to the spectator and heighten their epistemic awareness. Finally, the article argues that biopics like Mary Kom emphasize plural modes of knowing and recognizing the hegemonized epistemologies and ontologies of Indian sportswomen, and thereby interrogate the logocentrism of power and the governmentality of male-centered Hindi sports films.","PeriodicalId":44055,"journal":{"name":"Visual Anthropology","volume":"36 1","pages":"249 - 279"},"PeriodicalIF":0.2,"publicationDate":"2023-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44088040","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-19DOI: 10.1080/08949468.2023.2203298
Emit Snake-Beings
Drawing on visual elements, this article uses creative ethnography as a method of visualizing imaginative elements and observations. Generating improvised dialogues based on the visual prompts of the author’s video entitled Ghost Ships of Suva, the technique explores and speculates on the imagined lives of sailors and workers who once inhabited the abandoned fishing vessels that were filmed in the Fijian island of Viti Levu. The material life of the vessels and their socio-material relationship with the past inhabitants are explored with the idea that even the discarded material world is full of subjectivities with which we can connect. As a discussion on the socio-material “lives” of these ships, as a meeting-point of socio-material subjectivities, the article employs an approach driven by Donna Haraway’s concept of speculative fabulation. Through the reconstruction of dialogues, the article engages with Tim Ingold’s paradigm of aliveness and improvization, part of the processes involved in making images and videos with the Creative Ethnography Network (CEN). The conclusion acknowledges the complexities of socio-material entanglement: where elements of intersubjectivity between researcher and subject become vital agents in producing ethnographic knowledge.
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Pub Date : 2023-05-19DOI: 10.1080/08949468.2023.2203294
A. Griffiths
This essay considers amateur cinema as a site of Indigenous history and counter-memory, one capable of activating meanings that challenge notions of home movies as being films without public value. The amateur films were made by an American geologist, William Wrather, at the Inter-Tribal Indian Ceremonial in Gallup, New Mexico, in the late 1920/1930s, and they interweave footage of Wrather’s family with recordings of the parade and dances. I explore how Wrather's memory as a seeing subject creates space for reevaluating these films through an Indigenous frame of reference, subsuming his memories into a dynamic new “memoryscape” of cultural history.
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Pub Date : 2023-05-19DOI: 10.1080/08949468.2023.2203295
Zebulon Dingley
This article analyzes visual aspects of an otherwise verbal communicative genre: rumor. The focus is an episode of public panic in southern coastal Kenya in 2013, about “mumiani”—politically connected gangs said to murder children for their eyes. I argue that widespread defacement of public images during the panic expressed dimensions of mumiani imaginaries that went unspoken in the verbal spread of rumors about them. These defaced images—the eyes of which were scratched out—also evoked regional cultural motifs relating to power, value and rain, expressing in a visual modality both the content of contemporary mumiani fears and the historical associations that make such rumors plausible.
{"title":"Mumiani Season: Visual Aspects of a South Coast Kenyan Rumor","authors":"Zebulon Dingley","doi":"10.1080/08949468.2023.2203295","DOIUrl":"https://doi.org/10.1080/08949468.2023.2203295","url":null,"abstract":"This article analyzes visual aspects of an otherwise verbal communicative genre: rumor. The focus is an episode of public panic in southern coastal Kenya in 2013, about “mumiani”—politically connected gangs said to murder children for their eyes. I argue that widespread defacement of public images during the panic expressed dimensions of mumiani imaginaries that went unspoken in the verbal spread of rumors about them. These defaced images—the eyes of which were scratched out—also evoked regional cultural motifs relating to power, value and rain, expressing in a visual modality both the content of contemporary mumiani fears and the historical associations that make such rumors plausible.","PeriodicalId":44055,"journal":{"name":"Visual Anthropology","volume":"36 1","pages":"229 - 248"},"PeriodicalIF":0.2,"publicationDate":"2023-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46733561","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-19DOI: 10.1080/08949468.2023.2203299
Addamms Mututa
Cross-disciplinary studies have come to define twenty-first-century academia. In the process, the question of methodology and its transferal across disciplines raises important concerns abour processes of knowledge generation. The discussions in Reframing Africa? Reflections on Modernity and the Moving Image are generally anchored on “art as research” in respect to the Reframing Africa project—the foundation of this book. It considers the impermanence of the “work of re-viewing and recreating Africa” (2), and the position of African cinemas as archives of this process; and consequently collocates colonial media archives (archives of empire) and those of the African filmmakers (2). This is a sneakpreview of some of the book’s provocations in this subject. In Chapter 1: The Reframing Africa Audio-Visual Project, Cynthia Kros, Reece Auguiste and Pervaiz Khan discuss the significance of cinema in promoting the idea of Africa; its historicity and connection with the colonial project. From a critique of negative discourse on Africa within colonial archives, the authors deny Africa’s nonconditional consumption of colonial tropes. Instead they amplify instances of “critical intervention in research, scholarship and interpretation of colonial cinema in the broader trajectory of African cinema studies” (4). Further, this chapter offers provocative discussions on the urgency and necessity to attend to Africa’s archive and its instabilities, namely: unavailability within the continent or “in an accelerated process of disintegration” (4), truncated pre-colonial history, disunity, fragmentation, and impurity of such histories. The broad discursive space opened up by these instabilities is central to the book’s broad conceptual framework: “centred on the ontology of the African archive, its complicated histories of representation, its multifarious epistemic frames and its materiality as an object of research and critical inquiry that is connected to contemporary debates about African cinemas, emerging cultural practices in the visual arts, social movements in Africa and the African diaspora” (10). In Chapter 2: Cinema, Imperial Conquest, Modernity, the editors draw from South Africa’s cinema texts to reflect on “cinema’s relationship to imperial conquest and its complicity in European constructions of Africa and related
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