Image Critique The Fall Of The Berlin Wall

Sunil Manghani's "Image Critique and the Fall of the Berlin Wall" examines the use of visual image, using the event of the fall of the Berlin Wall as a contemporary case study. The book presents a new critical visual theory: image critique - a dual procedure combining a focus on both analysing and interpreting images, with a consideration of how images can be used to critically examine and engage with our contemporary culture. Manghani's interdisciplinary approach is complimented by a vast array of sources, including illustrative visual images, creating an accessible and lively debate. Manghani examines current debates surrounding visual culture, ranging from such topics as Francis Fukuyama's end of history thesis to metapictures and East German film. The result is an exhilarating interweaving of history, politics, and visual culture. It presents an image-based approach to critical theory. It provides a rich interplay of text and image. It offers a large number of images and stills. Whilst much has been written about Berlin and the Berlin Wall (mostly in the context of WWII or German reunification), this publication is the first to focus specifically on the media angle of the event, and its significance and influence in the development of political debate.

Keen to learn but short on time? Get to grips with the history of the Berlin Wall in next to no time with this concise guide. 50Minutes.com provides a clear and engaging analysis of the fall of the Berlin Wall.When the Berlin Wall was built unexpectedly in 1961, it divided the city for 28 years, separating families and friends for almost three decades. The Wall was a symbol of the divisions in Germany and Europe that followed the Second World War as well as a reminder of the stringent Communist regime. The fall of the wall was, therefore, cause for huge celebration: families were reunited, East Berliners were finally free of the strict communist regime and the biggest symbol of the East-West divide had collapsed. In just 50 minutes you will: • Understand why the Berlin Wall was built and what its purpose was • Learn about the events leading up the fall of the Berlin Wall and how a miscommunication caused it to fall a day early • Analyse the impact that the wall had on Berlin, Germany and the whole of Europe and why its collapse was so significant ABOUT 50MINUTES.COM | History & Culture 50MINUTES.COM will enable you to quickly understand the main events, people, conflicts and discoveries from world history that have shaped the world we live in today. Our publications present the key information on a wide variety of topics in a quick and accessible way that is guaranteed to save you time on your journey of discovery.

Collects nineteen essays that offer varying perspectives on the destruction of the Berlin Wall, discussing the history of the wall, controversies, and the political and personal significance of the wall's destruction.

With the televised events of 1989, territories of Eastern and Central Europe that had been marked as impenetrable and inaccessible to the Western gaze exploded into visibility. As the narratives of the Cold War crumbled, new narratives emerged and new geographies were produced on and by American television. Using an understudied archive of American news broadcasts, and tracing their flashes and echoes through travel guides and narratives of return written by Eastern European-Americans, this book explores American ways of seeing and mapping communism’s disintegration and the narratives articulated around post-communist sites and subjects.

This book, on Jimi Hendrix’s life, times, visual-cultural prominence, and popular music, with a particular emphasis on Hendrix’s relationships to the cultural politics of race, gender, sexuality, ethnicity, class, and nation. Hendrix, an itinerant “Gypsy” and “Voodoo child” whose racialized “freak” visual image continues to internationally circulate, exploited the exoticism of his race, gender, and sexuality and Gypsy and Voodoo transnational political cultures and religion. Aaron E. Lefkovitz argues that Hendrix can be located in a legacy of black-transnational popular musicians, from Chuck Berry to the hip hop duo Outkast, confirming while subverting established white supremacist and hetero-normative codes and conventions. Focusing on Hendrix’s transnational biography and centrality to US and international visual cultural and popular music histories, this book links Hendrix to traditions of blackface minstrelsy, international freak show spectacles, black popular music’s global circulation, and visual-cultural racial, gender, and sexual stereotypes, while noting Hendrix’s place in 1960s countercultural, US-exceptionalist, cultural Cold War, and rock histories.

Each of the five volumes in the Stone Art Theory Institutes series brings together a range of scholars who are not always directly familiar with one another’s work. The outcome of each of these convergences is an extensive and “unpredictable conversation” on knotty and provocative issues about art. This fifth and final volume in the series focuses on the identity, nature, and future of visual studies, discussing critical questions about its history, objects, and methods. The contributors question the canon of literature of visual studies and the place of visual studies with relation to theories of vision, visuality, epistemology, politics, and art history, giving voice to a variety of inter- and transdisciplinary perspectives. Rather than dismissing visual studies, as its provocative title might suggest, this volume aims to engage a critical discussion of the state of visual studies today, how it might move forward, and what it might leave behind to evolve in productive ways. The contributors are Emmanuel Alloa, Nell Andrew, Linda Báez Rubí, Martin A. Berger, Hans Dam Christensen, Isabelle Decobecq, Bernhard J. Dotzler, Johanna Drucker, James Elkins, Michele Emmer, Yolaine Escande, Gustav Frank, Theodore Gracyk, Asbjørn Grønstad, Stephan Günzel, Charles W. Haxthausen, Miguel Á. Hernández-Navarro, Tom Holert, Kıvanç Kılınç, Charlotte Klonk, Tirza True Latimer, Mark Linder, Sunil Manghani, Anna Notaro, Julia Orell, Mark Reinhardt, Vanessa R. Schwartz, Bernd Stiegler, Øyvind Vågnes, Sjoukje van der Meulen, Terri Weissman, Lisa Zaher, and Marta Zarzycka.

"Image Studies provides an engaging introduction to visual studies analysis and an account of existing and emergent visual culture debates, along with chapters on a range of topics, including: consumer culture and identity; photography and digital imaging; painting and drawing; the moving image; the relationship between image and text (including reference to text in art, comics and animation); and scientific imaging. Written in an engaging and accessible way, the text will also include extracts of existing critical materials. Each chapter will include key set readings, including short extracts from existing literatures with accompanying study notes and questions. The chapters will also include a range of critical and creative tasks, designed to bring the academic study of visual culture into direct contact with practical aspects of visual culture and image-making. Image Studies is a new text aimed predominantly at undergraduate students in visual culture, but which will also be useful for media studies students and arts students more generally"--

A wide range of transatlantic contributors addresses Berlin as a global focal point of the Cold War, and also assess the geopolitical peculiarity of the city and how citizens dealt with it in everyday life. They explore not just the implications of division, but also the continuing entanglements and mutual perceptions which resulted from Berlin's unique status. An essential contribution to the study of Berlin in the 20th century, and the effects - global and local - of the Cold War on a city.