The first detailed study of what filmic images can tell us about iconic photographs, No Power Without an Image reveals the multifaceted connections between seven celebrated photographs of political struggles, taken between 1936 and 1968, and cinema in all its forms. Moving from the 'paper cinema' of magazines via newsreels and film journals, to documentary, fiction and experimental films, this fascinating book draws on original archival research and multidisciplinary icon theory to explore new ways of thinking about the confluence of still and moving images.
This book examines how the nation – and its (fundamental) law – are ‘sensed’ by way of various aesthetic forms from the age of revolution up until our age of contested democratic legitimacy. Contemporary democratic legitimacy is tied, among other things, to consent, to representation, to the identity of ruler and ruled, and, of course, to legality and the legal forms through which democracy is structured. This book expands the ways in which we can understand and appreciate democratic legitimacy. If (democratic) communities are “imagined” this book suggests that their “rightfulness” must be “sensed” – analogously to the need for justice not only to be done, but to be seen to be done. This book brings together legal, historical and philosophical perspectives on the representation and iconography of the nation in the European, North American and Australian contexts from contributors in law, political science, history, art history and philosophy.
A gaunt woman stares into the bleakness of the Great Depression. An exuberant sailor plants a kiss on a nurse in the heart of Times Square. A naked Vietnamese girl runs in terror from a napalm attack. An unarmed man stops a tank in Tiananmen Square. These and a handful of other photographs have become icons of public culture: widely recognized, historically significant, emotionally resonant images that are used repeatedly to negotiate civic identity. But why are these images so powerful? How do they remain meaningful across generations? What do they expose--and what goes unsaid? InNo Caption Needed, Robert Hariman and John Louis Lucaites provide the definitive study of the iconic photograph as a dynamic form of public art. Their critical analyses of nine individual icons explore the photographs themselves and their subsequent circulation through an astonishing array of media, including stamps, posters, billboards, editorial cartoons, TV shows, Web pages, tattoos, and more. As these iconic images are reproduced and refashioned by governments, commercial advertisers, journalists, grassroots advocates, bloggers, and artists, their alterations throw key features of political experience into sharp relief. Iconic images are revealed as models of visual eloquence, signposts for collective memory, means of persuasion across the political spectrum, and a crucial resource for critical reflection. Arguing against the conventional belief that visual images short-circuit rational deliberation and radical critique, Hariman and Lucaites make a bold case for the value of visual imagery in a liberal-democratic society.No Caption Neededis a compelling demonstration of photojournalism's vital contribution to public life.
Encounters with Godard takes the reader on a personal voyage into the sensory pleasures and polyphonic rhythms of Jean-Luc Godard's multimedia work since the late 1970s, from his feature films and video essays to his published writings, art books, and media performances. Godard, suggests James S. Williams, lays ethical claim to the cinematic, defined in the broadest terms as relationality and artistic resistance. An introductory chapter on the extended history of La Chinoise (1967), a film explicitly of montage, is followed by seven different types of critical encounters with Godard, encompassing the fields of art and photography, music and literature, and foregrounding themes of gender and sexuality, race and violence, mystery and emotion. The Godard who emerges here is a restless and radical experimenter who establishes new cinematic thresholds through new technology and expands the creative potential and free exchange of the archives. Williams examines works including Nouvelle vague (1990), Film socialisme (2010), Hélas pour moi (1993), and the magnum opus Histoire(s) du cinéma (1988–98). Wide-ranging and accessible, Encounters with Godard marks a major intervention in the study of film aesthetics and ethics while forging a vital dialogue with literature, history and politics, art and art history, music and musicology, philosophy, and aesthetics.
