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Body Horror
Asks why anyone would want to look at shocking photographs. The text questions what happens when the press uses gruesome images to represent accidents and disasters, murder and execution, grief and death. It examines how the press pictures the dead and injured bodies of foreigners, with particular reference to the special conditions of photographing the horror of wars in the Gulf, Bosnia and Rwanda. It argues that hard-hitting documentary photography contributes to public knowledge and helps to define the freedom of the press.
Illuminations
This selection of women's writings on photography proposes a new and different history, demonstrating the ways in which women's perspectives have advanced photographic criticism over 150 years, focusing it more deeply and, with the advent of feminist approaches, increasingly challenging its orthodoxies. Included in the book are Rosalind Krauss, Ingrid Sischy, Vicki Goldberg and Carol Squiers.
Women, Feminism and Media
Over the past few decades feminist media scholarship has flourished, to become a major influence on the fields of media, film and cultural studies. At the same time, the cultural shift towards 'post-feminism' has raised questions about the continuing validity of feminism as a defining term for this work. This book explores the changing and often ambivalent relationship between the three terms women, feminism and media in the light of these recent debates. At the same time it places them within the broader discussions within feminist theory - about subjectivity, identity, culture, and narrative - of which they have formed a crucial part.The book is organised around four key topic areas. 'Fixi...
Midwifery, Obstetrics and the Rise of Gynaecology
The Gynaeciorum libri, the 'Books on [the diseases of] women,' a compendium of ancient and contemporary texts on gynaecology, is the inspiration for this intensive exploration of the origins of a subfield of medicine. This collection was first published in 1566, with a second edition in 1586/8 and a third, running to 1097 folio pages, in 1597. While examining the origins of the compendium, Helen King here concentrates on its reception, looking at a range of different uses of the book in the history of medicine from the sixteenth to the nineteenth century. Looking at the competition and collaboration among different groups of men involved in childbirth, and between men and women, she demonstr...
Birth Figures
Introduction: picturing pregnancy -- Part I: Early printed birth figures (1540-1672). Using images in midwifery practice; Pluralistic images and the early modern body -- Part II: Birth figures as agents of change (1672-1751). Visual experiments; Visualizing touch and defining a professional persona -- Part III: The birth figure persists (1751-1774). Challenging the Hunterian hegemony -- Conclusion.
The Mind Is a Collection
John Locke described the mind as a cabinet; Robert Hooke called it a repository; Joseph Addison imagined a drawer of medals. Each of these philosophers was an avid collector and curator of books, coins, and cultural artifacts. It is therefore no coincidence that when they wrote about the mental work of reason and imagination, they modeled their powers of intellect in terms of collecting, cataloging, and classification. The Mind Is a Collection approaches seventeenth- and eighteenth-century metaphors of the mind from a material point of view. Each of the book's six chapters is organized as a series of linked exhibits that speak to a single aspect of Enlightenment philosophies of mind. From hi...
Into the Image
Into the Image examines visual technology sociologically and, in so doing, rejects the fashionable idea that the new visual technologies are displacing the real.
The Creatures Time Forgot
First published in 1992, The Creatures Time Forgot examines the representation of disabled people – in advertising, particularly that produced by disability charities, and in the work of photographers such as Diane Arbus and Gary Winogrand. He shows how such images construct disabled people as ‘creatures,’ the tragic-but-brave objects of photographic gaze, or as the ‘’appy ‘andicapped’ of ‘positive imagery’ advertising. As a disabled photographer and writer, David Hevey has been a pioneer in challenging such visual representations of disabled people. His work advocates a move away from medical, charity or impairment-fixated imagery towards a visual equivalent of ‘Rights not Charity’. The book outlines David Hevey’s own photographic practice and includes wide-ranging selections from his work to create a visual form which reflects the new social presence of disabled people. This book will be of interest to students of media studies, cultural studies, and disability studies.
