Relevant bibliographies by topics / Barthes, Roland. Camera Lucida / Journal articles
To see the other types of publications on this topic, follow the link: Barthes, Roland. Camera Lucida.

Journal articles on the topic 'Barthes, Roland. Camera Lucida'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 46 journal articles for your research on the topic 'Barthes, Roland. Camera Lucida.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

Olin, Margaret. "Touching Photographs: Roland Barthes's ''Mistaken'' Identification." Representations 80, no. 1 (2002): 99–118. http://dx.doi.org/10.1525/rep.2002.80.1.99.

Full text
Abstract:
IN CAMERA LUCIDA, ROLAND BARTHES'S subject is the significance of photography's defining characteristic: the photograph's inseparable relation to its subject, that which ''must have been'' in front of the camera's lens. Or so it would seem. The present reading of Camera Lucida argues that Barthes's essay actually shows photography's nature as dependent not only on the intimate relation to its object, commonly termed ''indexical,'' but in accord with its relation to its user, its beholder. An examination of Barthes's encounters with photographs in Camera Lucida reveals the way in which identifi
APA, Harvard, Vancouver, ISO, and other styles
2

Badmington, Neil. "Punctum Saliens: Barthes, Mourning, Film, Photography." Paragraph 35, no. 3 (2012): 303–19. http://dx.doi.org/10.3366/para.2012.0061.

Full text
Abstract:
In the light of the publication of Roland Barthes's Mourning Diary (2009), this essay examines how the influential theory of the photographic punctum has cinematic roots which are repressed in Barthes's Camera Lucida (1980). My aim is not to repeat familiar arguments about how Barthes's ‘The Third Meaning’ (1970) anticipates the photographic punctum in a cinematic context; it is, rather, to attend specifically to Mourning Diary as a much closer, more precise precursor which has been visible only since 2009, and which casts new light upon the work of Roland Barthes.
APA, Harvard, Vancouver, ISO, and other styles
3

Wilson, Harry Robert. "The Theatricality of the Punctum: Re-Viewing Camera Lucida." Performance Philosophy 3, no. 1 (2017): 266. http://dx.doi.org/10.21476/pp.2017.31126.

Full text
Abstract:
I first encountered Roland Barthes�s Camera Lucida�(1980) in 2012 when I was developing a performance on falling and photography. Since then I have re-encountered Barthes�s book annually as part of my practice-as-research PhD project on the relationships between performance and photography. This research project seeks to make performance work in response to Barthes�s book � to practice with Barthes in an exploration of theatricality, materiality and affect. This photo-essay weaves critical discourse with performance documentation to explore my relationship to Barthes�s book. Responding to Mich
APA, Harvard, Vancouver, ISO, and other styles
4

Tenório da Motta, Leda, and Rodrigo Fontanari. "Roland Barthes in The camera lucida, the infidel semiologist." Matrizes 6, no. 1-2 (2012): 161. http://dx.doi.org/10.11606/issn.1982-8160.v6i1-2p161-168.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Levy, Lior. "The Question of Photographic Meaning in Roland Barthes’ Camera Lucida." Philosophy Today 53, no. 4 (2009): 395–406. http://dx.doi.org/10.5840/philtoday20095347.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Burnett, Ron. "Camera Lucida: Roland Barthes, Jean‐Paul Sartre and the photographic image." Continuum 6, no. 2 (1993): 5–24. http://dx.doi.org/10.1080/10304319309359396.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

O'MEARA, LUCY. "Atonality and Tonality: Musical Analogies in Roland Barthes's Lectures at the Collège de France." Paragraph 31, no. 1 (2008): 9–22. http://dx.doi.org/10.3366/e0264833408000035.

Full text
Abstract:
Though explicit references to music are infrequent in Barthes's Collège de France lectures, Barthes's use of music in other work from the 1970s makes it clear that music can act as a fruitful analogy in consideration of the text. This article uses the serialist or atonal analogy, as set up by Barthes in ‘From Work to Text’ and elsewhere, to examine the structuring of Comment vivre ensemble and The Neutral. In viewing these courses as serial or open works we can, it is hoped, arrive at a fuller understanding of their methodology and the role they ascribe to the listener or reader. The atonal an
APA, Harvard, Vancouver, ISO, and other styles
8

Lèal, Alfredo. "El fracaso de la fotografía: una respuesta intermedial al programa fenomenológico de camera lucida de Roland Barthes." Fotocinema. Revista científica de cine y fotografía 2, no. 19 (2019): 189. http://dx.doi.org/10.24310/fotocinema.2019.v2i19.6652.

Full text
Abstract:
El presente artículo pretende dar cuenta de las limitantes de la propuesta teórica de Roland Barthes para analizar la fotografía en tanto ésta se considere a la luz del programa fenomenológico del filósofo francés. Dada la importancia de la teoría de Barthes en el campo de la fotografía, creemos que dichas limitantes sólo son perceptibles si el programa de Barthes se lee desde una postura intermedial, es decir, desde la relación que la fotografía —en tanto re-presentación material de la realidad— presupone y desarrolla en torno a sí con respecto a instancias histórico-mediáticas que se encuent
APA, Harvard, Vancouver, ISO, and other styles
9

Tambling, Jeremy. "Towards a psychopathology of opera." Cambridge Opera Journal 9, no. 3 (1997): 263–79. http://dx.doi.org/10.1017/s0954586700004821.

Full text
Abstract:
Roland Barthes discusses a postmodern condition in his last book, Camera Lucida: everything is signified and visible, and everything has the flatness of the photographic image; even death is rendered platitudinous, flat. If everything can be represented, nothing can be represented that would distinguish it from the mass of images already available; and if everything is for consumption in conditions of distraction, then difference disappears; we are left in a state Barthes calls ‘indifference’. Barthes then looks for the punctum: any point of unrepresentability that will punctuate or pierce the
APA, Harvard, Vancouver, ISO, and other styles
10

Feichtinger, Daniela. "Wrestling with the Unspeakable." Interdisciplinary Journal for Religion and Transformation in Contemporary Society 6, no. 1 (2020): 216–35. http://dx.doi.org/10.30965/23642807-00601013.

Full text
Abstract:
Abstract The reader’s subjective experience cannot be easily integrated into an interpretation that claims a certain objectivity and adequacy to the text. For the exegesis of sacred texts, this means that something unspeakable remains, the encounter of which is traditionally described with the theological categories revelation and salvation. This raises the suspicion that by methodically excluding subjectiveness, at least part of the theological character of a text gets lost in interpretation. In order to exemplify the challenge subjectivity poses to scientific interpretation, especially withi
APA, Harvard, Vancouver, ISO, and other styles
11

Sánchez-Blake, Elvira Elizabeth. "El periodismo literario del conflicto en Colombia: Olga Behar, El clan de los doce apóstoles y María T. Ronderos, Guerras recicladas." Catedral Tomada. Revista de crítica literaria latinoamericana 8, no. 15 (2021): 92–120. http://dx.doi.org/10.5195/ct/2020.473.

Full text
Abstract:
The armed conflict in Colombia has generated a flow of journalistic and literary corpus that aimed to understand and reflect upon the violence that permeates the country. Telling the facts has become a duty, and analyzing them in the light of the truth, a responsibility. This essay analyzes two representative works of literary journalism that have had an impact on public opinion and, furthermore, have revealed important issues about recent national events: El clan de los doce apóstoles (The Twelve Apostles Club) by Olga Behar (Icono, 2011) and Guerras recicladas: una historia periodística del
APA, Harvard, Vancouver, ISO, and other styles
12

Zhang, Vickie. "NOISY FIELD EXPOSURES, or what comes before attunement." cultural geographies 27, no. 4 (2020): 647–64. http://dx.doi.org/10.1177/1474474020909494.

Full text
Abstract:
Before attunement comes exposure, the necessary fact of being a body. This photo essay is a play on two meanings of the word exposure: corporeal exposure and photographic exposure. I offer the latter in order to stay with moments of the former, exposing multiple scenes of misattunement from fieldwork in a small country town in regional Australia. Picking up the classic distinction in information theory between signal and noise, this piece pauses at the moment of indeterminacy before an event might be affirmed as valuable signal or discarded as unwanted static, weaving stories and images from t
APA, Harvard, Vancouver, ISO, and other styles
13

Sentilles, Sarah. "The Photograph as Mystery: Theological Language and Ethical Looking in Roland Barthes’s Camera Lucida." Journal of Religion 90, no. 4 (2010): 507–29. http://dx.doi.org/10.1086/654822.

Full text
APA, Harvard, Vancouver, ISO, and other styles
14

Bartram, Angela. "When the Image Takes over the Real: Holography and Its Potential within Acts of Visual Documentation." Arts 9, no. 1 (2020): 24. http://dx.doi.org/10.3390/arts9010024.

Full text
Abstract:
In Camera Lucida, Roland Barthes discusses the capacity of the photographic image to represent “flat death”. Documentation of an event, happening, or time is traditionally reliant on the photographic to determine its ephemeral existence and to secure its legacy within history. However, the traditional photographic document is often unsuitable to capture the real essence and experience of the artwork in situ. The hologram, with its potential to offer a three-dimensional viewpoint, suggests a desirable solution. However, there are issues concerning how this type of photographic document successf
APA, Harvard, Vancouver, ISO, and other styles
15

Mukhongo, Lynete Lusike. "Negotiating the New Media Platforms: Youth and Political Images in Kenya." tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 12, no. 1 (2014): 328–41. http://dx.doi.org/10.31269/triplec.v12i1.509.

Full text
Abstract:
New media platforms, particularly social networks act as vehicles for visual representation of a nation’s political discourse among the youth. Web 2.0 has created online spaces (private and public) that have been appropriated by Kenyan youth, locally, and in the Diaspora to weave their own political narratives and present them in forums that accommodate their views without fear of censorship or regulation that characterises “offline” communications. Using post structuralism, with emphasis on Roland Barthes “Death of the Author” and “Camera Lucida”, the article critically analyses how cultural
APA, Harvard, Vancouver, ISO, and other styles
16

Mukhongo, Lynete Lusike. "Negotiating the New Media Platforms: Youth and Political Images in Kenya." tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 12, no. 1 (2014): 328–41. http://dx.doi.org/10.31269/vol12iss1pp328-341.

Full text
Abstract:
New media platforms, particularly social networks act as vehicles for visual representation of a nation’s political discourse among the youth. Web 2.0 has created online spaces (private and public) that have been appropriated by Kenyan youth, locally, and in the Diaspora to weave their own political narratives and present them in forums that accommodate their views without fear of censorship or regulation that characterises “offline” communications. Using post structuralism, with emphasis on Roland Barthes “Death of the Author” and “Camera Lucida”, the article critically analyses how cultural
APA, Harvard, Vancouver, ISO, and other styles
17

Grigsby, Darcy Grimaldo. "Negative-Positive Truths." Representations 113, no. 1 (2011): 16–38. http://dx.doi.org/10.1525/rep.2011.113.1.16.

Full text
Abstract:
Opening with a consideration of the role played by Richard Avedon's photograph of William Casby in Roland Barthes's Camera Lucida, this essay examines Sojourner Truth's precocious and knowing use of the technology of photography. Inscribed with the caption "I Sell the Shadow to Support the Substance," Truth's inexpensive cartes-de-visite functioned as a form of paper currency during the years immediately following the Civil War. As a chemical process, photography transformed precious metals into paper images; as an optical registration of light and shadow, photographic negatives turned white i
APA, Harvard, Vancouver, ISO, and other styles
18

Socolovsky, Maya. "The Homelessness of Immigrant American Ghosts: Hauntings and Photographic Narrative in Oscar Hijuelos's The Fourteen Sisters of Emilio Montez O'Brien." PMLA/Publications of the Modern Language Association of America 117, no. 2 (2002): 252–64. http://dx.doi.org/10.1632/003081202x61980.

Full text
Abstract:
Cuban American literature and Oscar Hijuelos's texts in particular have generally been approached through a consideration of their material, multicultural aspects. This essay analyzes Hijuelos's The Fourteen Sisters of Emilio Montez O'Brien, on which there is little critical work, by combining the novel's descriptions of photography and immigrant experiences with theories of photography. My reading considers the placing of ghosts and memory in the narrative and problematizes the undialectical presence of death in it. Referring to Hijuelos's text as an “imagetext” (photographs exist in it only
APA, Harvard, Vancouver, ISO, and other styles
19

Baker, George. "Sharing Seeing." October 174 (December 2020): 163–75. http://dx.doi.org/10.1162/octo_a_00412.

Full text
Abstract:
In 2007, artist Sharon Lockhart made a large-scale photograph of two young girls reading braille, based on a specific photograph by August Sander from the 1930s made in an institute for blind children. Turning to the widespread iconography of blindness in the history of photography, this essay considers the importance of such images for a larger theory of photographic spectatorship. Lockhart's image of blind children relates to Sander's photograph, but does not duplicate it in all respects; her alteration of the historical image opens onto the larger non-coincidence of vision that photographic
APA, Harvard, Vancouver, ISO, and other styles
20

Brickhouse, Anna. "Unsettling World Literature." PMLA/Publications of the Modern Language Association of America 131, no. 5 (2016): 1361–71. http://dx.doi.org/10.1632/pmla.2016.131.5.1361.

Full text
Abstract:
Simultaneous But Distant Events in Collision: In 1981, New York University (NYU) Celebrated the 150th Anniversary of its founding with a series of notable speakers and events; in rural Guatemala that year, the military began to carry out a policy of genocide against the Mayan Indians. In New York, the much-awaited English translation of Roland Barthes's treatise on photography, La chambre claire, appeared as Camera Lucida; in Nicaragua, the CIA-backed contras waged war on the Sandinista government, which had passed the Agrarian Reform Law to redistribute land to the campesinos who labored on i
APA, Harvard, Vancouver, ISO, and other styles
21

Tapia, Ruby C. "Suturing the Mother: Race, Death, and the Maternal in Barthes' Camera Lucida." English Language Notes 44, no. 2 (2006): 203–8. http://dx.doi.org/10.1215/00138282-44.2.203.

Full text
APA, Harvard, Vancouver, ISO, and other styles
22

De Pourq, Maarten. "Camera. Tragica. Tragedie. Het politieke en het portret in het werk van Roland Barthes." Documenta 24, no. 2 (2019): 114–29. http://dx.doi.org/10.21825/doc.v24i2.10407.

Full text
APA, Harvard, Vancouver, ISO, and other styles
23

S. H. Favéro, Paolo, and Christopher Pinney. "Backdrops: Conversation with Chris Pinney." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 30–36. http://dx.doi.org/10.47659/m5.030.int.

Full text
Abstract:
The conversation between the two researches revolves around the central question of backdrop, its meaning, position inside the studio practices. It delves into the performative aspect of backdrop photography putting it in proximity with theatre and cinema, question its nature as a prop in the process of staging an image. The question seem to be how can photography as a general practice can be understood and its theoretical notions enriched through research into rich backdrop practices (in case of Pinney and Fevero mostly in India and surrounding region) and how can we explain those practice vi
APA, Harvard, Vancouver, ISO, and other styles
24

Holzberger, Helena. "National in Front of the Camera, Soviet Behind It: Central Asia in Press Photography, 1925–1937." Journal of Modern European History 16, no. 4 (2018): 487–508. http://dx.doi.org/10.17104/1611-8944-2018-4-487.

Full text
Abstract:
National in front of the Camera, Soviet behind it: Central Asia in Press Photography, 1925–1937 While photography in early Soviet Union is a well-researched field, researchers addressed hitherto mostly Soviet Russia. The history of photography in the Central Asian Soviet Republics, though, lacks research. This article focuses on the means of production and distribution of photographs taken in Uzbekistan 1926–1937. With Roland Barthes theory of «connotation», it interprets the visual invention of the Soviet Orient. Photographs by Georgij Zel'ma and Maks Penson of Uzbekistan that were published
APA, Harvard, Vancouver, ISO, and other styles
25

Wigoder, Meir. "The "Solar Eye" of Vision: Emergence of the Skyscraper-Viewer in the Discourse on Heights in New York City, 1890-1920." Journal of the Society of Architectural Historians 61, no. 2 (2002): 152–69. http://dx.doi.org/10.2307/991837.

Full text
Abstract:
This article explores the social and urban circumstances that made it possible for Alvin Langdon Coburn, the celebrated American Pictorialist photographer, to turn his camera upon Madison Square in 1912 from the vantage point of the Metropolitan Life Tower, and thus to create the first abstraction of a city viewed from above. The paper defines how the birth of the modern skyscraper-viewer corresponded to a period of urban transformation in New York City between 1890 and 1920. By extrapolating the terms of discourse regarding the skyscraper-viewer that appeared in a range of cultural, industria
APA, Harvard, Vancouver, ISO, and other styles
26

Shemshurenko, Evgenii. "Means of harmonization of composition and optimization of the design of photographic images." Культура и искусство, no. 3 (March 2021): 66–72. http://dx.doi.org/10.7256/2454-0625.2021.3.32960.

Full text
Abstract:
The subject of this research is such a means of harmonization of composition of the image in a plane as the contrast. The article assesses the possibility and factors of using contrast for increasing the attractiveness of the designed photographic image. The author reviews the examples of photo images with appropriate use of contrast; provides the research data on the perception[WU1]  of contrast by human visual system.; explores correlation between contrast and the conditions for a harmonious composition; as well as reviews the connection between the properties of compositional eleme
APA, Harvard, Vancouver, ISO, and other styles
27

Nouzeilles, Gabriela. "Theaters of Pain: Violence and Photography." PMLA/Publications of the Modern Language Association of America 131, no. 3 (2016): 711–21. http://dx.doi.org/10.1632/pmla.2016.131.3.711.

Full text
Abstract:
The Photograph is violent.—Roland Barthes, Camera LucidaWho are you, who will look at these photographs, and by what right, and what will you do about it?—James Agee, Let Us Now Praise Famous MenIn His Entry for Eye in Le Dictionnaire Critique (1929-30), Georges Bataille Refers to the Human Compulsion to Look as a response to a “blind thirst for blood,” triggered by the spectacle of extreme violence, including torture. But why, Bataille wonders, would someone's “absurd eyes be attracted, like a cloud of flies, to something so repugnant?” (19). He attributes to the human eye the cannibalistic d
APA, Harvard, Vancouver, ISO, and other styles
28

Benčin, Rok. "Photography between Affective Turn and Affective Structure." Filozofski vestnik 41, no. 1 (2020). http://dx.doi.org/10.3986/fv.41.1.07.

Full text
Abstract:
The affective turn in photography theory takes as its point of departure Roland Barthes’s move from semiology to affective phenomenology in Camera Lucida. This article, however, considers the way affective phenomenology is itself grounded in the semiological structure of photography. It looks at how, before Camera Lucida was even written, Thierry de Duve had already discussed the affective implications of Barthes’s understanding of photography’s indexical nature. The article then proceeds to rethink the structural affectivity of photography beyond Barthes’s and de Duve’s emphasis on a direct r
APA, Harvard, Vancouver, ISO, and other styles
29

Howell, Kaila. "Time, Loss, and the Death of the (M)other in Roland Barthes’ Camera Lucida and Sally Mann’s Deep South." Berkeley Undergraduate Journal 28, no. 1 (2015). http://dx.doi.org/10.5070/b3281025735.

Full text
APA, Harvard, Vancouver, ISO, and other styles
30

Sliwinski, Sharon. "Sharon Sliwinski. Review of "Photography Degree Zero: Reflections on Roland Barthes's "Camera Lucida"" by Geoffrey Batchen." caa.reviews, July 14, 2010. http://dx.doi.org/10.3202/caa.reviews.2010.79.

Full text
APA, Harvard, Vancouver, ISO, and other styles
31

Dean, Gabrielle. "Portrait of the Self." M/C Journal 5, no. 5 (2002). http://dx.doi.org/10.5204/mcj.1991.

Full text
Abstract:
Let us work backwards from what we know, from personal experience: the photograph of which we have each been the subject. Roland Barthes says of this photograph that it transforms "the subject into object": one begins aping the mask one wants to assume, one begins, in other words, to make oneself conform in appearance to the disguise of an identity (Camera Lucida 11). A quick glance back at your most recent holiday gathering will no doubt confirm his diagnosis. Barthes gives to this subject-object the title of Spectrum in order to neatly join the idea of spectacle with the fearsome spectre, wh
APA, Harvard, Vancouver, ISO, and other styles
32

Lisle, Debbie. "The 'Potential Mobilities' of Photography." M/C Journal 12, no. 1 (2009). http://dx.doi.org/10.5204/mcj.125.

Full text
Abstract:
In the summer of 1944, American Sergeant Paul Dorsey was hired by the Naval Aviation Photography Unit (NAPU) to capture “the Marines’ bitter struggle against their determined foe” in the Pacific islands (Philips 43). Dorsey had been a photographer and photojournalist before enlisting in the Marines, and was thus well placed to fulfil the NAPU’s remit of creating positive images of American forces in the Pacific. Under the editorial and professional guidance of Edward Steichen, NAPU photographers like Dorsey provided epic images of battle (especially from the air and sea), and also showed Ameri
APA, Harvard, Vancouver, ISO, and other styles
33

Tofts, Darren, and Lisa Gye. "Cool Beats and Timely Accents." M/C Journal 16, no. 4 (2013). http://dx.doi.org/10.5204/mcj.632.

Full text
Abstract:
Ever since I tripped over Tiddles while I was carrying a pile of discs into the studio, I’ve known it was possible to get a laugh out of gramophone records!Max Bygraves In 1978 the music critic Lester Bangs published a typically pugnacious essay with the fighting title, “The Ten Most Ridiculous Albums of the Seventies.” Before deliciously launching into his execution of Uri Geller’s self-titled album or Rick Dees’ The Original Disco Duck, Bangs asserts that because that decade was history’s silliest, it stands to reason “that ridiculous records should become the norm instead of anomalies,” tha
APA, Harvard, Vancouver, ISO, and other styles
34

Highmore, Ben. "Listlessness in the Archive." M/C Journal 15, no. 5 (2012). http://dx.doi.org/10.5204/mcj.546.

Full text
Abstract:
1. Make a list of things to do2. Copy list of things left undone from previous list3. Add items to list of new things needing to be done4. Add some of the things already done from previous list and immediately cross off so as to put off the feeling of an interminable list of never accomplishable tasks5. Finish writing list and sit back feeling an overwhelming sense of listlessnessIt started so well. Get up: make list: get on. But lists can breed listlessness. It can’t always be helped. The word “list” referring to a sequence of items comes from the Italian and French words for “strip”—as in a
APA, Harvard, Vancouver, ISO, and other styles
35

Koh, Wilson. ""Gently Caress Me, I Love Chris Jericho": Pro Wrestling Fans "Marking Out"." M/C Journal 12, no. 2 (2009). http://dx.doi.org/10.5204/mcj.143.

Full text
Abstract:
“A bunch of faggots for watching men hug each other in tights.”For the past five Marches, World Wrestling Entertainment (WWE) has produced an awards show which honours its aged former performers, such as Jimmy “Superfly” Snuka and Ricky “The Dragon” Steamboat, as pro-wrestling Legends. This awards show, according to WWE, is ‘an elegant, emotional, star-studded event that recognizes the in-ring achievements of the inductees and offers historical insights into this century-old sports-entertainment attraction’ (WWE.com, n.p.). In an episodic storyline leading up to the 2009 awards, however, the r
APA, Harvard, Vancouver, ISO, and other styles
36

Rice, Jeff. "They Put Me in the Mix." M/C Journal 4, no. 2 (2001). http://dx.doi.org/10.5204/mcj.1903.

Full text
Abstract:
Cut In 1964, William S. Burroughs' Nova Express is published. Part of the trilogy of books Burroughs wrote in the early 1960s (The Soft Cell and The Ticket That Exploded are the other two), Nova Express explores the problems that technology creates in the information age; and the ways in which language and thought have come under the influence of mass media. The book begins with a broad declaration against consumerism and corporate control: Listen all you boards syndicates and governments of the earth. And you powers behind what filth deals consummated in what lavatory to take what is not your
APA, Harvard, Vancouver, ISO, and other styles
37

Allmark, Panizza. "Photography after the Incidents: We’re Not Afraid!" M/C Journal 11, no. 1 (2008). http://dx.doi.org/10.5204/mcj.26.

Full text
Abstract:
This article will look at the use of personal photographs that attempt to convey a sense of social activism as a reaction against global terrorism. Moreover, I argue that the photographs uploaded to the site “We’re Not Afraid”, which began after the London bombings in 2005, presents a forum to promote the pleasures of western cultural values as a defence against the anxiety of terror. What is compelling are the ways in which the Website promotes, seemingly, everyday modalities through what may be deemed as the domestic snapshot. Nevertheless, the aura from the context of these images operates
APA, Harvard, Vancouver, ISO, and other styles
38

Allmark, Panizza. "Photography after the Incidents." M/C Journal 10, no. 6 (2008). http://dx.doi.org/10.5204/mcj.2719.

Full text
Abstract:

 
 
 This article will look at the use of personal photographs that attempt to convey a sense of social activism as a reaction against global terrorism. Moreover, I argue that the photographs uploaded to the site “We’re Not Afraid”, which began after the London bombings in 2005, presents a forum to promote the pleasures of western cultural values as a defence against the anxiety of terror. What is compelling are the ways in which the Website promotes, seemingly, everyday modalities through what may be deemed as the domestic snapshot. Nevertheless, the aura from the context of t
APA, Harvard, Vancouver, ISO, and other styles
39

Shiloh, Ilana. "Adaptation, Intertextuality, and the Endless Deferral of Meaning." M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2636.

Full text
Abstract:

 
 
 Film adaptation is an ambiguous term, both semantically and conceptually. Among its multiple connotations, the word “adaptation” may signify an artistic composition that has been recast in a new form, an alteration in the structure or function of an organism to make it better fitted for survival, or a modification in individual or social activity in adjustment to social surroundings. What all these definitions have in common is a tacitly implied hierarchy and valorisation: they presume the existence of an origin to which the recast work of art is indebted, or of biological
APA, Harvard, Vancouver, ISO, and other styles
40

Chau, Christina. "Remediating Destroyed Human Bodies: Contemporaneity and Habits of Online Visual Culture." M/C Journal 20, no. 5 (2017). http://dx.doi.org/10.5204/mcj.1308.

Full text
Abstract:
IntroductionThomas Hirschhorn’s video artwork Touching Reality has received much critical acclaim since it was first exhibited in 2012. First shown at the Palais de Tokyo in 2012, the artwork has since exhibited at the Institute of Modern Art in Brisbane (2013), and a recording of the piece installed can be currently found on Vimeo. The floor to ceiling video installation presents a woman’s hand scrolling through images on a touchscreen, which contains violent scenes of war where corpses that have been maimed, blown apart, destroyed, and mangled by war. Hirschhorn has explained that Touching R
APA, Harvard, Vancouver, ISO, and other styles
41

Drummond, Rozalind, Jondi Keane, and Patrick West. "Zones of Practice: Embodiment and Creative Arts Research." M/C Journal 15, no. 4 (2012). http://dx.doi.org/10.5204/mcj.528.

Full text
Abstract:
Introduction This article presents the trans-disciplinary encounters with and perspectives on embodiment of three creative-arts practitioners within the Deakin University research project Flows & Catchments. The project explores how creative arts participate in community and the possibility of well-being. We discuss our preparations for creative work exhibited at the 2012 Lake Bolac Eel Festival in regional Western Victoria, Australia. This festival provided a fertile time-place-space context through which to meet with one regional community and engage with scales of geological and histori
APA, Harvard, Vancouver, ISO, and other styles
42

Smith, Royce W. "The Image Is Dying." M/C Journal 6, no. 2 (2003). http://dx.doi.org/10.5204/mcj.2172.

Full text
Abstract:
The whole problem of speaking about the end…is that you have to speak of what lies beyond the end and also, at the same time, of the impossibility of ending. Jean Baudrillard, The Illusion of the End(110) Jean Baudrillard’s insights into finality demonstrate that “ends” always prompt cultures to speculate on what can or will happen after these terminations and to fear those traumatic ends, in which the impossible actually occurs, may only be the beginning of chaos. In the absence of “rational” explanations for catastrophic ends and in the whirlwind of emotional responses that are their after-e
APA, Harvard, Vancouver, ISO, and other styles
43

Smith, Hazel, and Roger T. Dean. "Posthuman Collaboration: Multimedia, Improvisation, and Computer Mediation." M/C Journal 9, no. 2 (2006). http://dx.doi.org/10.5204/mcj.2619.

Full text
Abstract:
Artistic collaboration involves a certain loss of self, because it arises out of the merging of participants. In this sense collaboration questions the notion of the creative individual and the myth of the isolated artistic genius. As such, artistic collaborations can be subversive interventions into the concept of authorship and the ideologies that surround it (Smith 189-194). Collaborations also often simultaneously superimpose many different approaches to the collaborative process. Collaboration is therefore a multiplicitous activity in which different kinds of interactivity are interlinked
APA, Harvard, Vancouver, ISO, and other styles
44

Holden, Todd Joseph Miles. "The Evolution of Desire in Advertising." M/C Journal 2, no. 5 (1999). http://dx.doi.org/10.5204/mcj.1773.

Full text
Abstract:
She's the dollars, she's my protection; she's a promise, in the year of election. Sister, I can't let you go; I'm like a preacher, stealing hearts at a traveling show. For love or money, money, money... Desire -- U2, "Desire" (1988) For the love of money. In the worship of things. Desire has traditionally been employed by advertising as a means of selling product. Regardless of culture, more powerful than context, desire is invoked as one of capitalism's iron-clad codes of quality. The Uses of Desire in Advertising Specifically, two variants have been most common. That in which desire is: (1)
APA, Harvard, Vancouver, ISO, and other styles
45

Ludewig, Alexandra. "Home Meets Heimat." M/C Journal 10, no. 4 (2007). http://dx.doi.org/10.5204/mcj.2698.

Full text
Abstract:

 
 
 Home is the place where one knows oneself best; it is where one belongs, a space one longs to be. Indeed, the longing for home seems to be grounded in an anthropological need for anchorage. Although in English the German loanword ‘Heimat’ is often used synonymously with ‘home’, many would have claimed up till now that it has been a word particularly ill equipped for use outside the German speaking community, owing to its specific cultural baggage. However, I would like to argue that – not least due to the political dimension of home (such as in homeland security and homela
APA, Harvard, Vancouver, ISO, and other styles
46

Pugsley, Peter. "At Home in Singaporean Sitcoms." M/C Journal 10, no. 4 (2007). http://dx.doi.org/10.5204/mcj.2695.

Full text
Abstract:

 
 
 The use of the family home as a setting for television sitcoms (situation comedies) has long been recognised for its ability to provide audiences with an identifiable site of ontological security (much discussed by Giddens, Scannell, Saunders and others). From the beginnings of American sitcoms with such programs as Leave it to Beaver, and through the trail of The Brady Bunch, The Cosby Show, Roseanne, The Fresh Prince of Bel Air, and on to Home Improvement, That 70s Show and How I Met Your Mother, the US has led the way with screenwriters and producers capitalising on the
APA, Harvard, Vancouver, ISO, and other styles
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography