Politics in the Middle East is now 'seen' and the image is playing a central part in processes of political struggle. This is the first book in the literature to engage directly with these changing ways of communicating politics in the region – and particularly with the politics of the image, its power as a political tool.Lina Khatib presents a cross-country examination of emerging trends in the use of visuals in political struggles in the Middle East, from the Cedar Revolution in Lebanon to the Green Movement in Iran, to the Arab Spring in Egypt, Syria and Libya. She demonstrates how states, activists, artists and people 'on the street' are making use of television, the social media and mobile phones, as well as non-electronic forms, including posters, cartoons, billboards and graffiti to convey and mediate political messages. She also draws attention to politics as a visual performance by leaders and citizens alike. With a particular focus on the visual dynamics of the Arab Spring, and based on case studies on the visual dimension of political protest as well as of political campaigning and image management by political parties and political leaders, Image Politics shows how visual expression is at the heart of political struggle in the Middle East today. It's a hard-hitting, enjoyable, groundbreaking book, challenging the traditional ways in which politics in the Middle East is conceived of and analyzed.
This text analyses the stereotypes and misconceptions that Americans have of Arabs and Arab-Americans and discusses the far-reaching impact that the United States has had on the Middle East. Specialists provide perspectives about cross-cultural and political communication.
Recent events such as ‘Iran’s Green Revolution’ and the ‘Arab Uprisings’ have exploded notions that human rights are irrelevant to Middle Eastern and North African politics. Increasingly seen as a global concern, human rights are at the fulcrum of the region’s on-the-ground politics, transnational intellectual debates, and global political intersections. The Routledge Handbook on Human Rights and the Middle East and North Africa: emphasises the need to consider human rights in all their dimensions, rather than solely focusing on the political dimension, in order to understand the structural reasons behind the persistence of human rights violations; explores the various frameworks in which to consider human rights—conceptual, political and transnational/international; discusses issue areas subject to particularly intense debate—gender, religion, sexuality, transitions and accountability; contains contributions from perspectives that span from global theory to grassroots reflections, emphasising the need for academic work on human rights to seriously engage with the thoughts and practices of those working on the ground. A multidisciplinary approach from scholars with a wide range of expertise allows the book to capture the complex dynamics by which human rights have had, or could have, an impact on Middle Eastern and North African politics. This book will therefore be a key resource for students and scholars of Middle Eastern and North African politics and society, as well as anyone with a concern for Human Rights across the globe.
Storytelling in World Cinemas, Vol. 1: Forms is an innovative collection of essays that discuss how different cinemas of the world tell stories. The book locates European, Asian, African, and Latin American films within their wider cultural and artistic frameworks, showing how storytelling forms in cinema are infused with influences from other artistic, literary, and oral traditions. This volume also reconsiders cinematic storytelling in general, highlighting the hybridity of 'national' forms of storytelling, calling for a rethinking of African cinematic storytelling that goes beyond oral traditions, and addressing films characterised by 'non-narration'. This study is the first in a two-volume project, with the second focusing on the contexts of cinematic storytelling.
Hizbullah is not only a leading political actor in Lebanon and a dynamic force in the Middle East, but it is also distinguished by a sophisticated communication strategy. From relatively humble beginnings in the 1980s, Hizbullah's political clout and its public perception have followed an upward trajectory, thanks to a political programme that blends military, social, economic and religious elements and adapts to changes in its environment. Its communication strategy is similarly adaptive, supporting the group's political objectives. Hizbullah's target audience has expanded to a regional and global viewership. Its projected identity, too, shifted from an Islamist resistance party opposed to Israel's presence in Lebanon to a key player within the Lebanese state. At the same time, Hizbullah's image has retained fixed features, including its image as an ally of Iran; its role as a resistance group (to Israel); and its original base as a religious party representative of the Lebanese Shiites. The authors of this book address how Hizbullah uses image, language and its charismatic leader, Hassan Nasrallah, to legitimise its political aims and ideology and appeal to different target groups.
Critical Cartography of Art and Visuality in the Global Age poses fundamental questions and pinpoints topical discussions central to the field of contemporary art studies in the global age. Resulting from a series of conversations that took place at the international conference ""Critical Cartography of Art and Visuality in the Global Age"" (Barcelona 2013), the volume brings together current debates in cultural and identity-based art histories as a means of expanding the territory of contempor...
This original and multidimensional book brings a refreshing new approach to the study of the arts of the Middle East. By dealing in one volume with dance, music, painting, and cinema, as experienced and practiced not only within the Middle East but also abroad, Images of Enchantment breaks down the artificial distinctions--of form, geography, 'high' and 'low' art, performer and artist--that are so often used to delineate the subjects and processes of Middle Eastern artistic culture. The eighteen essays in this book cover themes as diverse as Bedouin dance, the music of Arab Americans, cinema in Egypt and Iran, Hollywood representations of the Middle East, and contemporary Sudanese painting. The contributions come from scholars and critics and from the artists themselves. Together, they present a wide-ranging and holistic view of the arts in their social, political, anthropological, and gender contexts. Contributors: Walter Armbrust, Farida Ben Lyazid, Kay Hardy Campbell, Virginia Danielson, Marjorie Franken, Sondra Hale, Carolee Kent, Hamid Naficy, Salwa Mikdadi Nashashibi, Anne K. Rasmussen, Selim Sednaoui, Simon Shaheen, Rebecca Stone, Chaïbia Talal, Karin Van Nieuwkerk, William Young, Sherifa Zuhur.
Roger Owen has fully revised and updated his authoritative text to take into account the latest developments in the Middle East. This book continues to serve as an excellent introduction for newcomers to the modern history and politics of this fascinating region. This third edition continues to explore the emergence of individual Middle Eastern states since the fall of the Ottoman Empire at the end of the First World War and the key themes that have characterized the region since then.
For a full list of entries and contributors, sample entries, and more, visit the Routledge International Encyclopedia of Women website. Featuring comprehensive global coverage of women's issues and concerns, from violence and sexuality to feminist theory, the Routledge International Encyclopedia of Women brings the field into the new millennium. In over 900 signed A-Z entries from US and Europe, Asia, the Americas, Oceania, and the Middle East, the women who pioneered the field from its inception collaborate with the new scholars who are shaping the future of women's studies to create the new standard work for anyone who needs information on women-related subjects.
Theorists critique photography for "objectifying" its subjects and manipulating appearances for the sake of art. In this bold counterargument, John Roberts recasts photography's violating powers of disclosure and aesthetic technique as part of a complex "social ontology" that exposes the hierarchies, divisions, and exclusions behind appearances. The photographer must "arrive unannounced" and "get in the way of the world," Roberts argues, committing photography to the truth-claims of the spectator over the self-interests and sensitivities of the subject. Yet even though the violating capacity of the photograph results from external power relations, the photographer is still faced with an ethical choice: whether to advance photography's truth-claims on the basis of these powers or to diminish or veil these powers to protect the integrity of the subject. Photography's acts of intrusion and destabilization, then, constantly test the photographer at the point of production, in the darkroom, and at the computer, especially in our 24-hour digital image culture. In this game-changing work, Roberts refunctions photography's place in the world, politically and theoretically restoring its reputation as a truth-producing medium.