Visibly Different

In this second volume of the studies in Asia - Pacific 'mixed race' series talks about how people categorise others based on their facial expressions. Also within this book nine Australians tell their story on how they were catagorised by their facial appearence.

Race. The mere mention of the R-word is a surefire conversation-stopper. In this book about AmericaÆs most divisive social issue, Dominic J. Pulera offers a compelling roadmap to our future. This accessible and penetrating analysis is the first to include detailed coverage of AmericaÆs five "racial" groups: whites, blacks, Hispanics, Asian Americans, and Native Americans. The author contends that race will matter to Americans during the twenty-first century because of visible differences, and that differences in physical appearance separating the races are the single most important factor shaping intergroup relations, in conjunction with the social, cultural, economic, and political ramifications that accompany them. Pulera shows how, why, when, and where race matters in the United States and who is affected by it. He explains the ongoing demographic transition of America from a predominantly white country to one where nonwhites are increasingly numerous and consequently more visible. The advent of a multiracial consciousness has tremendous implications for AmericaÆs future, because the racial significance of almost every part of the American experience is increasing as a result. The author concludes on a note of cautious optimism as he explores whether the visible differences dividing Americans are reconcilable.

Through close readings grounded in the socio-historical context of each work, Ty studies how authors and filmmakers meet the gaze of the dominant culture and respond to the assumptions and meanings commonly associated with Orientalized, visible bodies. Ty does not survey Asian Canadian and Asian America literature, but presents readings of selected texts that actively engage with issues of otherness, visibility, and identification. Many of them, she says, are in the process of working out how larger issues of representation, power, and history affect Asian North American subjectivity. Parts of the work have been published previously.

Griselda Pollock provides concrete historical analyses of key moments in the formation of modern culture to reveal the sexual politics at the heart of modernist art, exploring the writings of Elizabeth Siddall, Mary Cassatt and Berthe Morisot.

Cinema is a sensuous object, but in our presence it becomes also a sensing, sensual, sense-making subject. Thus argues Vivian Sobchack as she challenges basic assumptions of current film theory that reduce film to an object of vision and the spectator to a victim of a deterministic cinematic apparatus. Maintaining that these premises ignore the material and cultural-historical situations of both the spectator and the film, the author makes the radical proposal that the cinematic experience depends on two "viewers" viewing: the spectator and the film, each existing as both subject and object of vision. Drawing on existential and semiotic phenomenology, and particularly on the work of Merleau-Ponty, Sobchack shows how the film experience provides empirical insight into the reversible, dialectical, and signifying nature of that embodied vision we each live daily as both "mine" and "another's." In this attempt to account for cinematic intelligibility and signification, the author explores the possibility of human choice and expressive freedom within the bounds of history and culture.

What is cultural about vision--or visual about culture? In this ambitious book, Whitney Davis provides new answers to these difficult and important questions by presenting an original framework for understanding visual culture. Grounded in the theoretical traditions of art history, A General Theory of Visual Culture argues that, in a fully consolidated visual culture, artifacts and pictures have been made to be seen in a certain way; what Davis calls "visuality" is the visual perspective from which certain culturally constituted aspects of artifacts and pictures are visible to informed viewers. In this book, Davis provides a systematic analysis of visuality and describes how it comes into being as a historical form of vision. Expansive in scope, A General Theory of Visual Culture draws on art history, aesthetics, the psychology of perception, the philosophy of reference, and vision science, as well as visual-cultural studies in history, sociology, and anthropology. It provides penetrating new definitions of form, style, and iconography, and draws important and sometimes surprising conclusions (for example, that vision does not always attain to visual culture, and that visual culture is not always wholly visible). The book uses examples from a variety of cultural traditions, from prehistory to the twentieth century, to support a theory designed to apply to all human traditions of making artifacts and pictures--that is, to visual culture as a worldwide phenomenon.