LEADER 04058nam 2200673Ia 450 001 9910462051703321 005 20211102022327.0 010 $a1-283-65736-8 010 $a0-8135-5396-2 024 7 $a10.36019/9780813553962 035 $a(CKB)2670000000269005 035 $a(EBL)1041946 035 $a(OCoLC)813932698 035 $a(SSID)ssj0000762306 035 $a(PQKBManifestationID)11507127 035 $a(PQKBTitleCode)TC0000762306 035 $a(PQKBWorkID)10739639 035 $a(PQKB)11017614 035 $a(MiAaPQ)EBC1041946 035 $a(MdBmJHUP)muse18885 035 $a(DE-B1597)530293 035 $a(DE-B1597)9780813553962 035 $a(Au-PeEL)EBL1041946 035 $a(CaPaEBR)ebr10612592 035 $a(CaONFJC)MIL396986 035 $a(OCoLC)1156842992 035 $a(EXLCZ)992670000000269005 100 $a20111128d2012 ub 0 101 0 $aeng 135 $aurnn#---|u||u 181 $ctxt 182 $cc 183 $acr 200 10$aWar culture and the contest of images$b[electronic resource] /$fDora Apel 210 $aNew Brunswick, New Jersey $cRutgers University Press$d2012 215 $a1 online resource (288 p.) 225 0 $aNew directions in international studies 300 $aDescription based upon print version of record. 311 0 $a0-8135-5395-4 320 $aIncludes bibliographical references and index. 327 $tFront matter --$tCONTENTS --$tILLUSTRATIONS --$t9780813553962-002 --$t9780813553962-003 --$t9780813553962-004 --$t9780813553962-005 --$t9780813553962-006 --$t9780813553962-007 --$t9780813553962-008 --$t9780813553962-009 --$t9780813553962-010 --$t9780813553962-011 --$t9780813553962-012 --$t9780813553962-013 330 $aWar Culture and the Contest of Images analyzes the relationships among contemporary war, documentary practices, and democratic ideals. Dora Apel examines a wide variety of images and cultural representations of war in the United States and the Middle East, including photography, performance art, video games, reenactment, and social media images. Simultaneously, she explores the merging of photojournalism and artistic practices, the effects of visual framing, and the construction of both sanctioned and counter-hegemonic narratives in a global contest of images. As a result of the global visual culture in which anyone may produce as well as consume public imagery, the wide variety of visual and documentary practices present realities that would otherwise be invisible or officially off-limits. In our digital era, the prohibition and control of images has become nearly impossible to maintain. Using carefully chosen case studies?such as Krzysztof Wodiczko?s video projections and public works in response to 9/11 and the wars in Iraq and Afghanistan, the performance works of Coco Fusco and Regina Galindo, and the practices of Israeli and Palestinian artists?Apel posits that contemporary war images serve as mediating agents in social relations and as a source of protection or refuge for those robbed of formal or state-sanctioned citizenship. While never suggesting that documentary practices are objective translations of reality, Apel shows that they are powerful polemical tools both for legitimizing war and for making its devastating effects visible. In modern warfare and in the accompanying culture of war that capitalism produces as a permanent feature of modern society, she asserts that the contest of images is as critical as the war on the ground. 410 0$aNew Directions in International Studies 606 $aArt and war 606 $aWar and society 606 $aArt and society 608 $aElectronic books. 615 0$aArt and war. 615 0$aWar and society. 615 0$aArt and society. 676 $a701/.03 700 $aApel$b Dora$f1952-$01046855 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910462051703321 996 $aWar culture and the contest of images$92474087 997 $aUNINA