Ethics And Images Of Pain

Few phenomena are as formative of our experience of the visual world as displays of suffering. But what does it mean to have an ethical experience of disturbing or traumatizing images? What kind of ethical proposition does an image of pain mobilize? How may the spectator learn from and make use of the painful image as a source of ethical reflection? Engaging with a wide range of visual media--from painting, theatre, and sculpture, to photography, film, and video--this interdisciplinary collection of essays by leading and emerging scholars of visual culture offers a reappraisal of the increasingly complex relationship between images of pain and the ethics of viewing. Ethics and Images of Pain reconsiders the persistent and ever pertinent nexus of aesthetics and ethics, the role of painful images as generators of unpredictable forms of affect, the moral transformation of spectatorship, the ambivalence of the witness and the representation of afflication as a fundamental form of our shared scopic experience. The instructive and illuminating essays in the collection introduce a phenomenological context in which to make sense of our current ecology of excruciating images, one that accentuates notions of responsibility, empathy, and imagination. Contributors trace the images of pain across a miscellany of case studies, and amongst the topics addressed are: the work of artists as disparate as Doris Salcedo, Anselm Kiefer and Bendik Riis; photographs from Abu Ghraib and Rwanda; Hollywood war films and animated documentaries; performances of self-immolations and incidents of police brutality captured on mobile phones.

Few phenomena are as formative of our experience of the visual world as displays of suffering. But what does it mean to have an ethical experience of disturbing or traumatizing images? This collection of essays offers a reappraisal of the increasingly complex relationship between images of pain and the ethics of viewing.

'Image Ethics in the Digital Age' brings together leading experts in the fields of journalism, media studies, & law to address the challenges presented by new technology & assess the implications for personal & societal values & behavior.

This book provides the first book-length, English-language account of the political ethics of large-scale, Western-based humanitarian INGOs, such as Oxfam, CARE, and Doctors Without Borders. These INGOs are often either celebrated as heroes or do-going machines or maligned as incompetents 'on the road to hell'. In contrast, this book suggests the picture is more complicated. Drawing on political theory, philosophy, and ethics, along with original fieldwork, this book shows that while humanitarian INGOs are often perceived as non-governmental and apolitical, they are in fact sometimes somewhat governmental, highly political, and often 'second-best' actors. As a result, they face four central ethical predicaments: the problem of spattered hands, the quandary of the second-best, the cost-effectiveness conundrum, and the moral motivation trade-off. This book considers what it would look like for INGOs to navigate these predicaments in ways that are as consistent as possible with democratic, egalitarian, humanitarian and justice-based norms. It argues that humanitarian INGOs must regularly make deep moral compromises. In choosing which compromises to make, they should focus primarily on their overall consequences, as opposed to their intentions or the intrinsic value of their activities. But they should interpret consequences expansively, and not limit themselves to those that are amenable to precise measurements of cost-effectiveness. The book concludes by explaining the implications of its 'map' of humanitarian INGO political ethics for individual donors to INGOs, and for how we all should conceive of INGOs' role in addressing pressing global problems.

"We all have images that we find unwatchable, whether for ethical, political, or sensory-affective reasons. From news coverage of terror attacks to viral videos of police brutality, and from graphic horror films to incendiary artworks that provoke mass boycotts, many of the images in our media culture strike as beyond the pale of consumption. Yet what does it mean to proclaim a media object "unwatchable": disturbing, revolting, poor, tedious, or literally inaccessible? Appealing to a broad academic and general readership, Unwatchable offers multidisciplinary approaches to the vast array of troubling images that circulate in our global visual culture, from cinema, television, and video games through museums and classrooms to laptops, smart phones, and social media platforms. This anthology assembles 60 original essays by scholars, theorists, critics, archivists, curators, artists, and filmmakers who offer their own responses to the broadly suggestive question: What do you find unwatchable? The diverse answers include iconoclastic artworks that have been hidden from view, dystopian images from the political sphere, horror movies, TV advertisements, classic films, and recent award-winners"--

Culture has always relied on art, just as artists have been dependent on culture as a problem field to draw inspiration from and as a store of social, ideological, and political practices to endorse or criticise. This volume addresses this dynamic reality by investigating how literary, cinematic, and artistic practices expose the often invisible structures and discourses which underlie the values, concepts, rites, and myths specific to Anglo-American cultural environments. On the one hand, the chapters (re-)visit classical, as well as contemporary, authors, including Charles Dickens, Emily Dickinson, Janice Galloway and Matthew Kneale, through the lenses of culture, to explore how their works become social commentaries and a cultural diagnosis. On the other hand, they explore the politics and ideological effects of cultural practices exemplified by such matters as censorship, reading communities, fan fiction and travelogues.

The essays in Invisibility in Visual and Material Culture contribute pioneering and revelatory insights into the phenomenon of invisibility, forging new and multi-disciplinary approaches at the intersection of aesthetics, technology, representation and politics. Importantly, they acknowledge the complex interaction between invisibility and its opposite, visibility, arguing that the one cannot be fully grasped without the other. Considering these entanglements across different media forms, the chapters reveal that the invisible affects many cultural domains, from digital communication and operative images to the activism of social movements, as well as to identity, race, gender and class issues. Whether the subject is comic books, photographic provocations, biometric and brainwave sensing technologies, letters, or a cinematic diary, the analyses in this book engage critically and theoretically with the topic of invisibility and thus represent the first scholarly study to identify its importance for the field of visual culture.

Narrative film can be a useful way of looking at bioethical scenarios. This volume presents a collection of brief, accessible essays written by international experts from medicine, social sciences, and the humanities, all of whom have experience using film in their teaching of medical ethics. Each author looks at a single scene from a popular film in order to illuminate its ethical dimensions.