"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, i
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ts 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." (Publisher description)
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"From the massacre of the Sioux Indians at Wounded Knee to the torture of prisoners at Abu Ghraib, from famine in China to apartheid in South Africa, Picturing Atrocity examines a broad spectrum of photographs. Each of the essays focuses specifically on an iconic image, offering a distinct approach
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and context, in order to enable us to look again; and this time more closely at the picture. In addition, four photo-essays showcase the work of photographers involved in the making of photographs of brutality as well as the artists' own reflections on these images. Together these essays cover the historical and geographical range of atrocity photographs and respond to current concerns about such disturbing images; they probe why we as viewers feel compelled to look even when our instinct might be to look away." (Publisher description)
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"In recent decades the Maasai of East Africa have undergone substantive cultural change in response to national development efforts. This study uses participant observation, in-depth interviews, and digital photography to better understand the lived experience and development perspectives of Maasai
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women. Through dialog about digital photographs they had taken, Maasai women powerfully articulated their concerns and ideas about development and social change within their communities. Results show that Maasai women have a keen sense of the potential benefits and pitfalls of the social changes they are experiencing, particularly with regards to marriage relationships, gender norms, and education. Implications of the study of participants’ adept use of digital photography to facilitate dialog about development and social change are discussed." (Abstract)
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"Picturing Afghanistan is an in-depth account of the Euro-American visualization of the conflict in Afghanistan. Comparing images in public affairs, psychological warfare, journalism and the photobook, the author argues that there are no strong boundaries between photography in war and photography a
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bout war. He shwos how and when the media have adopted, extended and counterframed the public affairs discourse of militarism and humanitarianism, and how and when public affairs rely on the aesthetic codes of photojournalism. Instead of enforcing a unified interpretation, the author considers photography's ambiguous and contradictory aspects. It is argued that, even within the conventionalized genre of photojournalism, photographs of conflict do not merely promote unity and social cohesion but express anxieties associated with the breakdown of imagined communities." (Back cover)
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"According to Galtung, a peace journalism frame is one that highlights peace initiatives and tones down differences by promoting conflict resolution. A war journalism frame, in his view, is one that highlights differences between opposing parties, urging violence as means to a resolution. Thus, base
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d on the above classification of these two competing frames of war coverage, this is one of the first studies to empirically test the model via a visual quantitative analysis. Using news photographs, this study analyzes the extent to which the Gaza War (2008-2009) was represented as war versus peace journalism in the three leading Western newswires (Associated Press, Reuters, and AFP/Getty Images). Findings indicate that all three wires combined provided a variety of visual frames to communicate a comprehensive coverage of the event. This observed pattern therefore highlights the role of gatekeeping in providing a broad-based understanding of conflicts. In other words, it becomes crucial to note that photo selections in terms of war versus peace journalism ultimately has an impact in shaping public opinion and influencing perceptions of news events. Furthermore, from a theoretical standpoint, this work expands the classification of war versus peace journalism by operationalizing these frames into concrete pictorial patterns from a visual communication perspective." (Abstract)
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"In moving away from prescriptive one-way communications exercises, participatory development communications use better strategies to engage communities and capture nuance. This article examines a communications case study in Egypt: a photography competition aimed at understanding how local photogra
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phers depict women and empowerment in their images. Opportunities for discussion and selfreflection provide cultural producers the space to delve into how they see women and how they then choose to represent them. This type of communications initiative actively courts a richer understanding of empowerment, leaving room for the complexities this might entail." (Abstract)
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"In describing their understanding of trauma, disaster, and conflict photography, photojournalists in this qualitative study conceptualized abstract experiences using specific types of metaphors. Their metaphors focused on concepts such as violence, bewilderment, and health/affliction. The unique as
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pect of these metaphors was how they were reflective of aspects of journalism culture and the work of trauma photography. Through a metaphorical analysis of these figurative expressions, I show how metaphors construct a conceptual system of understanding the work of trauma photography and occupational identity, as well as influence the formation of the culture of journalism itself. Understanding this metaphorical picture may add to our knowledge about how traumatic stress injuries are recognized, managed, and aided in newsrooms." (Abstract)
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"Este libro es una selección de imágenes del Concurso Nacional de FotografÃa sobre Desaparición Forzada 'Sin Rastro." (Página 1)
"The manual is intended to give an introduction to the power of participatory photography as a tool for social change with marginalised and vulnerable groups. Produced in response to the many enquires requesting advice on how to set up a participatory photography project it offers tips and suggestio
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ns for all aspects of project development including planning, implementation and promotion of work produced." (PhotoVoice website)
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"This essay explores the nature and political consequences of representing HIV/AIDS in Africa, where the disease has taken its greatest toll. We examine how different methods of photography embody different ideologies through which we give meaning to political phenomena. We distinguish three photogr
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aphic methods of representing HIV/AIDS: naturalist, humanist, and pluralist. Naturalist approaches portray photographs as neutral and value free. Humanist photography, by contrast, hinges on the assumption that images of suffering can invoke compassion in viewers, and that this compassion can become a catalyst for positive change. By examining a widely circulated iconic photograph of a Ugandan woman and her child affected by AIDS-related illnesses, we show that such representations can nevertheless feed into stereotypical portrayals of African people as nameless and passive victims, removed from the everyday realities of the western world. We contrast these practices with pluralist photography. To do so we examine a project in Addis Ababa, which used a methodology that placed cameras into the hands of children affected by HIV/AIDS, giving them the opportunity to actively represent what it means to live with the disease. The result is a form of dialog that opens up spaces for individuals and communities to work more effectively in overcoming problematic stigmas and finding ways of stemming the spread of the disease." (Abstract)
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