LEADER 03111nam 2200493 450 001 9910552751703321 005 20221107183306.0 010 $a1-4384-6786-9 024 8 $ahttps://doi.org/10.1353/book.100024 035 $a(CKB)3790000000543563 035 $a(MiAaPQ)EBC5210801 035 $a(OCoLC)1014011908 035 $a(MdBmJHUP)musev2_100024 035 $a(ScCtBLL)31e73627-de7d-473e-84c6-430122383c70 035 $a(EXLCZ)993790000000543563 100 $a20180130h20172017 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aAffective images $epost-apartheid documentary perspectives /$fMarietta Kesting 210 1$aAlbany, New York :$cSUNY Press,$d2017. 210 4$dİ2017 215 $a1 online resource (306 pages) $cillustrations (black and white) 311 $a1-4384-6785-0 320 $aIncludes bibliographical references, filmography and index. 327 $aIntroduction -- Mapping context and place -- Affective images. Photographs of black suffering and violence -- Affective images in the "new" South Africa -- Burning questions. The "Burning man" -- The afterlife of Nhamuave's photograph -- Photographic speech acts. Migrant life and the image -- Documentary participatory photography and politics -- In/visibilities and reenactments. De-identification and multiplication. From documentary to fiction and back: District 9 -- Conclusion: affective images of belonging. 330 $aAffective Images examines both canonical and lesser-known photographs and films that address the struggle against apartheid and the new struggles that came into being in post-apartheid times. Marietta Kesting argues for a way of embodied seeing and complements this with feminist and queer film studies, history of photography, media theory, and cultural studies. Featuring in-depth discussions of photographs, films, and other visual documents, Kesting then situates them in broader historical contexts, such as cultural history and the history of black subjectivity and revolves the images around the intersection of race and gender. In its interdisciplinary approach, this book explores the recurrence of affective images of the past in a different way, including flashbacks, trauma, "white noise," and the return of the repressed. It draws its materials from photographers, filmmakers, and artists such as Ernest Cole, Simphiwe Nkwali, Terry Kurgan, Thenjiwe Niki Nkosi, Adze Ugah, and the Center for Historical Reenactments. 606 $aPost-apartheid era in mass media 606 $aDocumentary mass media$zSouth Africa$xHistory 607 $aSouth Africa$xIn mass media 607 $aSouth Africa$xPolitics and government$y20th century 615 0$aPost-apartheid era in mass media. 615 0$aDocumentary mass media$xHistory. 676 $a968.07 700 $aKesting$b Marietta$01214542 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910552751703321 996 $aAffective images$92804438 997 $aUNINA