Drawing on in-depth interviews with women reflecting a range of experiences of verbal hostility, physical violence and sexual violence, Spectacle of Violence explores the issues surrounding violence and hostility towards lesbians and gay men. Challenging current thinking, Gail Mason highlights the ways in which different identities, bodes and systems of through interact, and asks fundamental questions: * Where does violence come from? * What effects does it have? * How do lesbians and gay men manage the risk of violence? * What is the relationship between violence and power? She argues for the importance of thinking about homophobic violence in the context of other core issues such as gender and race. Focusing on 'real life' experiences of violence, The Spectacle of Violence is an important contribution to current thought about violence. Moving beyond issues of causation and prevention, it offers new ways of theorizing the relationship between identity, knowledge and power.
"This is a must-read book for anyone ready to transcend fear and imagine a new reality."--Tikkun Disposable Futures makes the case that we have not just become desensitized to violence, but rather, that we are being taught to desire it. From movies and other commercial entertainment to "extreme" weather and acts of terror, authors Brad Evans and Henry Giroux examine how a contemporary politics of spectacle--and disposability--curates what is seen and what is not, what is represented and what is ignored, and ultimately, whose lives matter and whose do not. Disposable Futures explores the connections between a range of contemporary phenomena: mass surveillance, the militarization of police, the impact of violence in film and video games, increasing disparities in wealth, and representations of ISIS and the ongoing terror wars. Throughout, Evans and Giroux champion the significance of public education, social movements and ideas that rebel against the status quo in order render violence intolerable. "Disposable Futures poses, and answers, the pressing question of our times: How is it that in this post-Fascist, post-Cold War era of peace and prosperity we are saddled with more war, violence, inequality and poverty than ever? The neoliberal era, Evans and Giroux brilliantly reveal, is defined by violence, by drone strikes, 'smart' bombs, militarized police, Black lives taken, prison expansion, corporatized education, surveillance, the raw violence of racism, patriarchy, starvation and want. The authors show how the neoliberal regime normalizes violence, renders its victims disposable, commodifies the spectacle of relentless violence and sells it to us as entertainment, and tries to contain cultures of resistance. If you're not afraid of the truth in these dark times, then read this book. It is a beacon of light."--Robin D. G. Kelley, author of Freedom Dreams: The Black Radical Imagination "Disposable Futures confronts a key conundrum of our times: How is it that, given the capacity and abundance of resources to address the critical needs of all, so many are having their futures radically discounted while the privileged few dramatically increase their wealth and power? Brad Evans and Henry Giroux have written a trenchant analysis of the logic of late capitalism that has rendered it normal to dispose of any who do not service the powerful. A searing indictment of the socio-technics of destruction and the decisions of their deployability. Anyone concerned with trying to comprehend these driving dynamics of our time would be well served by taking up this compelling book."--David Theo Goldberg, author of The Threat of Race: Reflections on Racial Neoliberalism "Disposable Futures is an utterly spellbinding analysis of violence in the later 20th and early 21st centuries. It strikes me as a new breed of street-smart intellectualism moving through broad ranging theoretical influences of Adorno, Arendt, Bauman, Deleuze, Foucault, Zizek, Marcuse, and Reich. I especially appreciated a number of things, including: the discussion of representation and how it functions within a broader logics of power; the descriptions and analyses of violence mediating the social field and fracturing it through paralyzing fear and anxiety; the colonization of bodies and pleasures; and the nuanced discussion of how state violence, surveillance, and disposability connect. Big ideas explained using a fresh straightforward voice."--Adrian Parr, author of The Wrath of Capital: Neoliberalism and Climate Change Politics
Lynch mobs in late nineteenth- and early twentieth-century America exacted horrifying public torture and mutilation on their victims. In Lynching and Spectacle, Amy Wood explains what it meant for white Americans to perform and witness these sadistic spectacles and how lynching played a role in establishing and affirming white supremacy. Lynching, Wood argues, overlapped with a variety of cultural practices and performances, both traditional and modern, including public executions, religious rituals, photography, and cinema, all which encouraged the horrific violence and gave it social acceptability. However, she also shows how the national dissemination of lynching images ultimately fueled the momentum of the antilynching movement and the decline of the practice. Using a wide range of sources, including photos, newspaper reports, pro- and antilynching pamphlets, early films, and local city and church records, Wood reconfigures our understanding of lynching's relationship to modern life. Wood expounds on the critical role lynching spectacles played in establishing and affirming white supremacy at the turn of the century, particularly in towns and cities experiencing great social instability and change. She also shows how the national dissemination of lynching images fueled the momentum of the antilynching movement and ultimately led to the decline of lynching. By examining lynching spectacles alongside both traditional and modern practices and within both local and national contexts, Wood reconfigures our understanding of lynching's relationship to modern life.
In Public Spectacles of Violence Rielle Navitski examines the proliferation of cinematic and photographic images of criminality, bodily injury, and technological catastrophe in early twentieth-century Mexico and Brazil, which were among Latin America’s most industrialized nations and later developed two of the region’s largest film industries. Navitski analyzes a wide range of sensational cultural forms, from nonfiction films and serial cinema to illustrated police reportage, serial literature, and fan magazines, demonstrating how media spectacles of violence helped audiences make sense of the political instability, high crime rates, and social inequality that came with modernization. In both nations, sensational cinema and journalism—influenced by imported films—forged a common public sphere that reached across the racial, class, and geographic divides accentuated by economic growth and urbanization. Highlighting the human costs of modernization, these media constructed everyday experience as decidedly modern, in that it was marked by the same social ills facing industrialized countries. The legacy of sensational early twentieth-century visual culture remains felt in Mexico and Brazil today, where public displays of violence by the military, police, and organized crime are hypervisible.
The Das Kapital of the 20th century,Society of the Spectacle is an essential text, and the main theoretical work of the Situationists. Few works of political and cultural theory have been as enduringly provocative. From its publication amid the social upheavals of the 1960's, in particular the May 1968 uprisings in France, up to the present day, with global capitalism seemingly staggering around in it’s Zombie end-phase, the volatile theses of this book have decisively transformed debates on the shape of modernity, capitalism, and everyday life in the late 20th century. This ‘Red and Black’ translation from 1977 is Introduced by Notting Hill armchair insurrectionary Tom Vague with a galloping time line and pop-situ verve, and given a more analytical over view by young upstart thinker Sam Cooper.
The Visual Culture of Violence after the French Revolution traces four sites of spectatorship that exemplified the visual culture of violence in the late eighteenth and early nineteenth centuries, offering a new account of the significance of violent spectacle to the birth of modernity. Considerations of the execution scaffold, salon painting, print culture and the fait divers, and waxworks displays establish the centrality of spectatorial violence to experiences of selfhood in the wake of the French Revolution. Shedding critical light on previously neglected aspects of art and visual culture of the post-Revolutionary period, The Visual Culture of Violence after the French Revolution demonstrates how violent spectacle at this moment was profoundly shaped by shifting social attitudes, contemporary political practices, and rapidly accelerated technological developments. By attending to the formal and historical specificity of violent spectacle after the Revolution, Graybill affirms the historical contingency through which the visual culture of violence in the modern era has emerged. The Visual Culture of Violence after the French Revolution will be broadly relevant to scholars of art, media and visual studies, and particularly to historians of the French Revolution and eighteenth- and early nineteenth-century Europe. The book's concern with the representation of violence makes it of interest to scholars working in a variety of fields beyond its historical period, especially in art, literature, history, media and culture studies.
The Spectacle of Violence explores the contexts and implications of homophobia-related violence and hostility, asking questions about where violence comes from and the effects it has.
The elaborate and inventive slaughter of humans and animals in the arena fed an insatiable desire for violent spectacle among the Roman people. Donald G. Kyle combines the words of ancient authors with current scholarly research and cross-cultural perspectives, as he explores * the origins and historical development of the games * who the victims were and why they were chosen * how the Romans disposed of the thousands of resulting corpses * the complex religious and ritual aspects of institutionalised violence * the particularly savage treatment given to defiant Christians. This lively and original work provides compelling, sometimes controversial, perspectives on the bloody entertainments of ancient Rome, which continue to fascinate us to this day.
While there is a tacit appreciation that freedom from violence will lead to more prosperous relations among peoples, violence continues to be deployed for various political and social ends. Yet the problem of violence still defies neat description, subject to many competing interpretations. Histories of Violence offers an accessible yet compelling examination of the problem of violence as it appears in the corpus of canonical figures – from Hannah Arendt to Frantz Fanon, Michel Foucault to Slavoj Žižek – who continue to influence and inform contemporary political, philosophical, sociological, cultural, and anthropological study. Written by a team of internationally renowned experts, this is an essential interrogation of post-war critical thought as it relates to violence.
During the mid-1990s, the O.J. Simpson murder trial dominated the media in the United States and were circulated throughout the world via global communications networks. The case became a spectacle of race, gender, class and violence, bringing in elements of domestic melodrama, crime drama and legal drama. According to this fascinating new book, the Simpson case was just one example of what the author calls 'media spectacle' - a form of media culture that puts contemporary dreams, nightmares, fantasies and values on display. Through the analysis of several such media spectacles - including Elvis, The X Files, Michael Jordan, and the Bill Clinton sex scandals - Doug Kellner draws out important insights into media, journalism, the public sphere and politics in an era of new technologies. In this excellent follow up to his best selling Media Culture, Kellner's fascinating new volume delivers an informative read for students of sociology, culture and media.
