Whether pasted into an album, framed or shared on social media, the family photograph simultaneously offers a private and public insight into the identity and past of its subject. Long considered a model for understanding individual identity, the idea of the family has increasingly formed the basis for exploring collective pasts and cultural memory. Picturing the Family investigates how visual representations of the family reveal both personal and shared histories, evaluating the testimonial and social value of photography and film. Combining academic and creative, practice-based approaches, this collection of essays introduces a dialogue between scholars and artists working at the intersection between family, memory and visual media. Many of the authors are both researchers and practitioners, whose chapters engage with their own work and that of others, informed by critical frameworks. From the act of revisiting old, personal photographs to the sale of family albums through internet auction, the twelve chapters each present a different collection of photographs or artwork as case studies for understanding how these visual representations of the family perform memory and identity. Building on extensive research into family photographs and memory, the book considers the implications of new cultural forms for how the family is perceived and how we relate to the past. While focusing on the forms of visual representation, above all photographs, the authors also reflect on the contextualization and 'remediation' of photography in albums, films, museums and online.
Throughout European history, Jews have been associated with commerce and the money trade, rendered both visible and vulnerable, like Shylock, by their economic distinctiveness. This is the story of Jewish perceptions of this economic difference and its effect on modern Jewish identity.
Picturing America argues that photography is a prevalent practice of making places, determining how we situate ourselves in the world. As a prime site of knowledge and change, it enacts our perception as well as transformative conception of American environments.
In Picturing American Modernity, Kristen Whissel investigates the relationship between early American cinema and the experience of technological modernity. She demonstrates how between the late 1890s and the eve of the First World War moving pictures helped the U.S. public understand the possibilities and perils of new forms of “traffic” produced by industrialization and urbanization. As more efficient ways to move people, goods, and information transformed work and leisure at home and contributed to the expansion of the U.S. empire abroad, silent films presented compelling visual representations of the spaces, bodies, machines, and forms of mobility that increasingly defined modern life in the United States and its new territories. Whissel shows that by portraying key events, achievements, and anxieties, the cinema invited American audiences to participate in the rapidly changing world around them. Moving pictures provided astonishing visual dispatches from military camps prior to the outbreak of fighting in the Spanish-American War. They allowed audiences to delight in images of the Pan-American Exposition, and also to mourn the assassination of President McKinley there. One early film genre, the reenactment, presented spectators with renditions of bloody battles fought overseas during the Philippine-American War. Early features offered sensational dramatizations of the scandalous “white slave trade,” which was often linked to immigration and new forms of urban work and leisure. By bringing these frequently distant events and anxieties “near” to audiences in cities and towns across the country, the cinema helped construct an American national identity for the machine age.
Christian mission in previous centuries often drew on images of imperial expansion and war. Today, foreign mission in so-called restricted-access countries is envisioned as a kind of holy espionage. But are “civilizing” crusades and warfare, even covert, appropriate images to associate with the good news of Jesus Christ? In Picturing Christian Witness, missiologist Stanley Skreslet searches for new, more holistic images of mission from Scripture. Skreslet undertakes a novel exegetical study of mission in the New Testament that focuses on the first followers of Jesus. Skreslet highlights five actions that depict the witness of these disciples: announcing good news, sharing Christ with friends, interpreting the gospel, shepherding, and building/planting. After carefully examining key biblical passages, he draws out the implications of these five images for the theology of mission and lets each image take shape visually through an array of Western and non-Western art. Picturing Christian Witness will provoke students of mission and of the Bible to imagine what mission will look like when actively embodied by contemporary disciples of Jesus.
Exploring the value of photography and video as legitimate forms of social enquiry, An Applied Visual Sociology: Picturing Harm Reduction constitutes a guidebook for conducting applied visual sociology within health related or social science research projects, providing a full account of the visual research journey and presenting a tested template for conducting theoretically-driven, sociologically-informed research. Against the background of the growing popularity of visual methods, this book goes beyond using photographs for illustrative and descriptive purposes, to emphasise the importance of sociological, epistemological and analytical theory, together with methods of data collection and the presentation of images for applied purposes. As such, An Applied Visual Sociology: Picturing Harm Reduction offers a template for considering visual data as applied research, providing a full account of the manner in which visual methods can inform research and specific interventions, together with opportunities for students and practitioners to consider applied visual sociology in a series of practical or self-study tasks . It will therefore appeal not only to students and researchers involved in social and health-related qualitative research, or those seeking to conduct innovative visual projects within the social sciences, but also to scholars interested in research methods, visual ethnography and harm reduction approaches to drug use.
Thirty years after his family and career are destroyed by an affair with one of his patients, psychoanalyst Solomon Grossman finds a chance for redemption when he learns where his grown son is living. Tour.
Media and Communications Strategies to End Violence Against Women
Category: Abused women
The materials in this catalogue have been used around the world in public service announcements or awareness-raising campaigns to combat gender-based violence. The materials featured are available from the Violence Against Women Resource Center, Media/Materials Clearinghouse at Johns Hopkins University, and many can be seen on the End Violence Against Women website developed by the Clearinghouse and UNIFEM, at: http://www.endvaw.org. The catalogue includes detailed descriptions of selected projects that use innovative communication strategies.
Professional storyteller Lane uses the image of an unfolding flower to suggest ways of understanding and telling fairy tales that make them both authentic and entertaining. Characterization, setting, magic, politics, and sexuality are some of the aspects she discusses. Annotation copyright by Book News, Inc., Portland, OR