"While the importance of visualization of war, conflict, and violence has gathered great momentum in disciplines such as International Relations (IR), far less has been said about the visualization of peace in IR, history, and even in Peace and Conflict Studies. As Maria Elena Diez Jorge and Francis
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co Muñoz Muñoz point out, "[v]iolence has received the attention, while peace and its entire semantic sphere have been left out of the spotlight". It is this relative blind spot that this special issue wants to address as it aims to reflect on the politics, policy, and pedagogy of visualizing peace. Among other questions, it will reflect on how peace is visualized in cultural artifacts and what these representations of peace (and their absence) do politically. In other words, what is presented in the picture of peace and what is left out? What consequences can this have for the construction of politics? In addition, the special issue considers how visual artifacts can contribute to real-world peace after violent conflict. How can visualization in film, photography, or documentaries help build peace and contribute to conflict resolution, reconciliation, transitional justice, and peace pedagogy? If we accept the argument of the cultural turn and believe in the co-constitution of culture and politics and in the idea that cultural artifacts such as movies take part in the construction of a dichotomous understanding of self and other, thereby contributing to the legitimation of violence and conflict, then this may also work the other way around: Cultural artifacts like movies can play an important role in peace processes." (Page 5)
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"Images and visual artefacts shape international events and our understanding of them. Photographs, film and television influence how we view and approach phenomena as diverse as war, diplomacy, financial crises and election campaigns. Other visual fields, from art and cartoons to maps, monuments an
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d videogames, frame how politics is perceived and enacted. Drones, satellites and surveillance cameras watch us around the clock and deliver images that are then put to political use. Add to this that new technologies now allow for a rapid distribution of still and moving images around the world. Digital media platforms, such as Twitter, YouTube, Facebook and Instagram, play an important role across the political spectrum, from terrorist recruitment drives to social justice campaigns. This book offers the first comprehensive engagement with visual global politics. Written by leading experts in numerous scholarly disciplines and presented in accessible and engaging language, Visual Global Politics is a one-stop source for students, scholars and practitioners interested in understanding the crucial and persistent role of images in today’s world." (Publisher description)
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"Across the board, respondents called for NGOs to diversify their strategies. As well as children, they wanted to see images of parents and grandparents, local development workers and doctors, for example. They highlighted the importance of maintaining the dignity of the individuals portrayed, espec
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ially when depicting children and called for more sharing of stories to give those presented in images identity and agency. Respondents also talked about where they would draw the line, and many agreed that images of nudity and violence should not be used. It was also clear that some images that are used by INGOs to get a specific message across – for example the image of an older African man drinking beer – may get lost in translation when viewed by a person in a completely different context." (Conclusions)
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"This ethnography uses the Syrian case to reflect more broadly on how the networked age reshapes contemporary warfare and impacts on the enactment of violence through images and on images. In stark contrast to the techno-utopias celebrating digital democracy and participatory cultures, Donatella Del
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la Ratta’s analysis exposes the dark side of online practices, where visual regimes of representation and media production dramatically intertwine with modes of destruction and the performance of violence." (Publisher description)
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"Ereignisse wie die ägyptische Revolution von/seit 2011 lassen sich als komplexe Medienereignisse beschreiben, in denen Medien weniger eine Dokumentationsfunktion übernehmen, sondern das Ereignis selbst zu einem wesentlichen Teil konstituieren und seinen Verlauf prägen, und die sich damit sowohl
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im sogenannten Realraum als auch zu großen Teilen im virtuellen Raum des Internets ereignen. Die vorliegende Arbeit schaut zurück auf dieses Ereignis, und versucht—in Theorie und Praxis—die ihm zugrundeliegende Medialität aus medienwissenschaftlicher Perspektive zu erforschen und seine Konsequenzen für eben diese Rückschau, also für eine zeitgemäße Geschichts- und Archivpraxis zu ergründen. In diesem Sinne verfolgt SEEING HISTORY – The Augmented Archive die sich verändernden Medialitäten des Archivs in Zeiten des Übergangs vom Speichermedium hin zum Modus des Übertragens. Hier liegt die wahre Herausforderung für eine zeitgemäße Geschichtsschreibung: "Von den Speichermedien aus kommen die Übertragungsmedien selten in den Blick denn sie hinterlassen kaum Spuren. Weil es von ihnen kein klassisches Archiv, sondern nur Momente der Zwischenspeicherung gibt, fokussiert sie kaum eine Historiographie." (Einleitung, Seite 13)
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"Visual Imagery and Human Rights Practice examines the interplay between images and human rights, addressing how, when, and to what ends visuals are becoming a more central means through which human rights claims receive recognition and restitution. The collection argues that accounting for how imag
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es work on their own terms is an ever more important epistemological project for fostering the imaginative scope of human rights and its purchase on reality. Interdisciplinary in nature, this timely volume brings together voices of scholars and practitioners from around the world, making a valuable contribution to the study of media and human rights while tackling the growing role of visuals across cultural, social, political and legal structures." (Publisher description)
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"Why do women respond so differently to becoming a mother in England from the way they do in Trinidad? How are values such as carnival and suburbia expressed visually? Based on an examination of over 20,000 images, the authors argue that phenomena such as selfies and memes must be analysed in their
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local context. The book aims to highlight the importance of visual images today in patrolling and controlling the moral values of populations, and explores the changing role of photography from that of recording and representation, to that of communication, where an image not only documents an experience but also enhances it, making the moment itself more exciting." (http://www.ucl.ac.uk/ucl-press)
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"This article investigates the use of social media for visual framing of the conflict in Eastern Ukraine. Using a large set of visual data from a popular social networking site, Vkontakte, the authors employ content analysis to examine how the conflict was represented and interpreted in pro-Ukrainia
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n and pro-Russian online communities during the peak of violence in summer 2014. The findings point to the existence of profound differences in framing the conflict among pro-Ukrainian and pro-Russian online communities. The former tended to interpret the conflict as a limited military action against local insurgents, whereas the latter presented it as an all-out war against the Russian population of Eastern Ukraine. The article suggests that framing the conflict through social media facilitated the propagation of mutually exclusive views on the conflict and led to the formation of divergent expectations in Ukraine and Russia concerning the outcome of the war in Donbas." (Abstract)
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"This article argues that an indigenous approach to communication research allows us to re-think academic approaches of engaging in and evaluating participatory communication research. It takes as its case study the Komuniti Tok Piksa project undertaken in the Highlands of Papua New Guinea. The proj
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ect explores ways in which visual methods when paired with a community action approach embedded within an indigenous framework can be used to facilitate social change through meaningful participation. It involves communities to narrate their experiences in regard to HIV and AIDS and assists them in designing and recording their own messages. Local researchers are trained in using visual tools to facilitate this engagement with the communities." (Abstract)
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"Im ersten Teil der Broschüre geht es um übergreifende Themen wie die Verwobenheit der Diversitätsdimensionen, die Möglichkeit, Diversität durch Binnenpluralität herzustellen, den Zusammenhang von Bildkomposition und Hierarchien und um die Besonderheiten des Mediums Video. Der zweite Teil beha
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ndelt die Darstellung verschiedener Diversitätsdimensionen in den Medien: Ethnizität und „Hautfarbe“, Geschlecht und Gender, Behinderung, Alter sowie die Repräsentation von Familien. Im dritten Teil schließlich werden Tipps für die Bildrecherche gegeben, das Diversitätsrad als Mittel für einen Schnellcheck vorgestellt und die wichtigsten Punkte in Kürze zusammengefasst. Der Fokus dieser Handlungsempfehlungen liegt auf Bildern. In den nächsten Jahren wird das Gleichstellungsbüro der Goethe-Universität weiterhin einen Leitfaden erarbeiten, der sich mit (Text-)Sprache beschäftigt. Um Zusammenhänge zu verdeutlichen, wurden zahlreiche Fotos und andere Bilder als Anschauungsmaterial verwendet. Bilder, die – im Zuge des Fokus, den das jeweilige Kapitel setzt – als Positivbeispiele dienen, sind mit einem dunkelgrauen Balken und einem Häkchen gekennzeichnet. Für Fotos, die aus der Perspektive des Schwerpunktes eines Kapitels kritisch zu betrachten sind, wurde ein hellgrauer Grund benutzt. Dies bedeutet nicht, dass diese Fotos per se schlecht sind, sondern nur, dass sie in dem besprochenen Kontext für sich alleine oder in Kombination mit anderen Bildern als negativ zu betrachtende Schlussfolgerungen nahelegen." (Seite 10)
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"The authors outline the topic of visuality in the 21st century in a trans- and interdisciplinary theoretical frame from philosophy through communication theory, rhetoric and linguistics to pedagogy. As some scholars of visual communication state, there is a significant link between the downgrading
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of visual sense making and a dominantly linguistic view of cognition. According to the concept of linguistic turn, everything has its meaning because we attribute meaning to it through language. Our entire world is set in language, and language is the model of human activities. This volume questions the approach in the imagery debate." (Back cover)
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"This edited collection provides a comprehensive overview of ethical issues associated with visual research methods. Considering the work of researchers across a range of disciplines using visual methods in research, it offers practical and thoughtful discussions of emerging methodological and ethic
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al dilemmas in innovative projects using visual methods, either in combination with other methods or as a stand-alone method to answer new kinds of research questions. Both synthesizing central themes and addressing ethical issues particularly relevant to specific research topics, in various settings and from various disciplinary perspectives, it considers how researchers navigate and conceptualise ethical issues. With contributions discussing research conducted in Australia, Argentina, Canada, India, Korea, Norway and the United Kingdom, the book's international scope, disciplinary breadth and the range of methods and research contexts addressed will notably appeal to those seeking to understand the value, and potential ethical risks, of visual methodologies for social research." (Publisher description)
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"This book is concerned with the process of applying visual methods as a tool of inquiry from design, to production, to analysis and dissemination. Drawing on research projects which reflect real-world situations, you will be methodically guided through the research process in detail, enabling you t
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o examine and understand the practices and value of visual, narrative and creative approaches as effective qualitative tools. Key topics include: techniques of data production, including collage, mapping, drawing and photographs; the practicalities of application; the positioning of the researcher; interpretation of visual data; images and narratives in public spaces; evaluative analysis of creative approaches." (Publisher description)
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"Welche Bilder prägen unser Gedächtnis? Bilder nehmen im „visuellen Zeitalter“ eine herausragende Bedeutung für europäische Identität, Geschichtsbewusstsein und Geschichtskultur ein. 14 Bildquellen – Gemälde und Fotografien –, die in den aktuellen Schulgeschichtsbüchern europäischer
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Staaten am häufigsten abgebildet werden und sich über dieses Medium europaweit im visuellen Gedächtnis von Kindern und Jugendlichen verankert haben, werden in diesem Band vorgestellt. Die Bildwerke werden gemäß den Standards der fachspezifischen „visual literacy“ von Expertinnen und Experten erschlossen und aufbereitet. Viele der Bilder, wie beispielsweise die fotografische Darstellung der Konferenz von Jalta, waren bislang nie Gegenstand von Analysen. Auch die Grundlagen zur „visual literacy“-Kompetenz im Umgang mit Bildikonen und dem kulturwissenschaftlichen Zugang zum Bild kommen in dem neuen Band nicht zu kurz. Sie werden in drei grundlegenden Beiträgen zugänglich gemacht. Das Buch ist ein Gewinn für alle, die den Beitrag der Schule zur Bildung einer europäischen Identität ernst nehmen und ihn weiterentwickeln wollen." (Verlagsbeschreibung)
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"Following China's accession to the WTO in 2001, personal and collective experiences of changing social conditions have added new dimensions to the increasingly diverse Sinophone media landscape, and provided a novel complement to the existing edifice of blockbusters, documentaries, and auteur cultu
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re. The numerous 'iGeneration' productions and practices examined in this volume include 3D and IMAX films, experimental documentaries, animation, visual aides-mémoires, and works of pirated pastiche. Together, they bear witness to the emergence of a new Chinese cinema characterized by digital and, trans-media representational strategies, the blurring of private/public distinctions, and dynamic reinterpretations of the very notion of 'cinema' itself." (Publisher description)
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