04058nam 2200673Ia 450 991046205170332120211102022327.01-283-65736-80-8135-5396-210.36019/9780813553962(CKB)2670000000269005(EBL)1041946(OCoLC)813932698(SSID)ssj0000762306(PQKBManifestationID)11507127(PQKBTitleCode)TC0000762306(PQKBWorkID)10739639(PQKB)11017614(MiAaPQ)EBC1041946(MdBmJHUP)muse18885(DE-B1597)530293(DE-B1597)9780813553962(Au-PeEL)EBL1041946(CaPaEBR)ebr10612592(CaONFJC)MIL396986(OCoLC)1156842992(EXLCZ)99267000000026900520111128d2012 ub 0engurnn#---|u||utxtccrWar culture and the contest of images[electronic resource] /Dora ApelNew Brunswick, New Jersey Rutgers University Press20121 online resource (288 p.)New directions in international studiesDescription based upon print version of record.0-8135-5395-4 Includes bibliographical references and index.Front matter --CONTENTS --ILLUSTRATIONS --9780813553962-002 --9780813553962-003 --9780813553962-004 --9780813553962-005 --9780813553962-006 --9780813553962-007 --9780813553962-008 --9780813553962-009 --9780813553962-010 --9780813553962-011 --9780813553962-012 --9780813553962-013War Culture and the Contest of Images analyzes the relationships among contemporary war, documentary practices, and democratic ideals. Dora Apel examines a wide variety of images and cultural representations of war in the United States and the Middle East, including photography, performance art, video games, reenactment, and social media images. Simultaneously, she explores the merging of photojournalism and artistic practices, the effects of visual framing, and the construction of both sanctioned and counter-hegemonic narratives in a global contest of images. As a result of the global visual culture in which anyone may produce as well as consume public imagery, the wide variety of visual and documentary practices present realities that would otherwise be invisible or officially off-limits. In our digital era, the prohibition and control of images has become nearly impossible to maintain. Using carefully chosen case studies—such as Krzysztof Wodiczko’s video projections and public works in response to 9/11 and the wars in Iraq and Afghanistan, the performance works of Coco Fusco and Regina Galindo, and the practices of Israeli and Palestinian artists—Apel posits that contemporary war images serve as mediating agents in social relations and as a source of protection or refuge for those robbed of formal or state-sanctioned citizenship. While never suggesting that documentary practices are objective translations of reality, Apel shows that they are powerful polemical tools both for legitimizing war and for making its devastating effects visible. In modern warfare and in the accompanying culture of war that capitalism produces as a permanent feature of modern society, she asserts that the contest of images is as critical as the war on the ground.New Directions in International StudiesArt and warWar and societyArt and societyElectronic books.Art and war.War and society.Art and society.701/.03Apel Dora1952-1046855MiAaPQMiAaPQMiAaPQBOOK9910462051703321War culture and the contest of images2474087UNINA