This paper provides a revisionist account of the authority and power of the criminal mugshot. Dominant theories in the field have tended to focus on the ways in which mugshots have been used as a way of disciplining criminal bodies and rendering them docile. It is argued here that additional emphasis could usefully be placed on stories of resistance in which the monological production site of the prison or police station transforms into a dialogical site, in which the objects of (...) police photography can acquire agency. These issues are explored with particular reference to a set of photographs of English suffragettes acquired by the police for surveillance purposes. The suffragette’s refusal to comply with requests to have their photographs taken is used as a case study through which to examine the ways in which conventions about the form of the mugshot can be subverted, ideas about the types of people who were the object/subject of mugshots disrupted and the assumption of documentary neutrality undermined. (shrink)

ABSTRACTIn Critical Discourse Studies and in other linguistics oriented scholarly journals we now see more research which draws upon multimodality as part of carrying out analyses of how text...

This article addresses the portrait as a philosophical form of art. Portraits seek to render the subjective objectively visible. In portraiture two fundamental aims come into conflict: the revelatory aim of faithfulness to the subject, and the creative aim of artistic expression. In the first part of my paper, studying works by Rembrandt, I develop a typology of four different things that can be meant when speaking of an image’s power to show a person: accuracy, testimony of presence, emotional characterization, (...) or revelation of the essential “air” (to use Roland Barthes’ term). In the second half of my paper this typology is applied to examples from painting and photography to explore how the two media might differ. I argue that, despite photography’s alleged ‘realism’ and ‘transparency,’ it allows for artistic portraiture and presents the same basic conflict between portraiture’s two aims, the revelatory and the expressive. (shrink)

The thylacine was a shy and elusive nonhuman animal who survived in small numbers on the island of Tasmania, Australia, when European settlers arrived in 1803. After a deliberate campaign of eradication, the species disappeared 130 years later. Visual and verbal constructions in the nineteenth century labeled the thylacine a ferocious predator, but photographs of individuals in British and American zoos that were used to illustrate early twentieth-century zoological works presented a very different impression of the animal. The publication of (...) these photographs, however, had little effect on the relentless progress of extermination. This essay focuses on the relationship between photographs of thylacines and the process of extinction, between images and words, and between pictures of dead animals and live ones. The procedures, claims, and limitations of photography are crucial to the messages generated by these images and to the role they played in the representation of the species. This essay explains why the medium of photography and pleas for preservation could not save the thylacine. (shrink)

This article investigates the relationship between discourses held in early photography and the negotiation of new urban class and gender-based identities in the mid-nineteenth century in England. It will do this by examining part of the early photographic archive compiled by Arthur J. Munby. I will examine a previously overlooked part of Munby's photographic archive, the large number of photographs of working-class women who lived or worked in central London taken between 1859 and 1865. The article considers Munby as a (...) flaneur and examines the relationship between the voyeurism of the flaneur, the formation of class-based identities and these photographs of working-class women. Munby's diaries offer invaluable information on the early appearance of a new type of discursive medium, the photograph, and a new subject matter, the new working-class in the urban environment of mid-Victorian London. I suggest that, by rebuilding the visual discourses held within these photographs, critical discourse studies can begin to appreciate the complex relationship that existed between realism, painting, photography and discourses of class. The article proposes that Munby's ‘use’ of these photographs, as a flaneur, allows us to consider the complex symbiotic relationship between class authenticity, photographic realism and shifting visual discourses. (shrink)

This article examines the ethical implications of the growing integration of consumption into the heart of the employment relationship. Human resource management (HRM) practices increasingly draw upon the values and practices of consumption, constructing employees as the 'consumers' of 'cafeteria-style' benefits and development opportunities. However, at the same time employees are expected to market themselves as items to be consumed on a corporate menu. In relation to this simultaneous position of consumer/consumed, the employee is expected to actively engage in the (...) commodification of themselves, performing an appropriate organizational identity as a necessary part of being a successful employee. This article argues that the relationship between HRM and the simultaneously consuming/consumed employee affects the conditions of possibility for ethical relations within organizational life. It is argued that the underlying 'ethos' for the integration of consumption values into HRM practices encourages a self-reflecting, self-absorbed subject, drawing upon a narrow view of individualised autonomy and choice. Referring to Levinas' perspective that the primary ethical relation is that of responsibility and openness to the Other, it is concluded that these HRM practices affect the possibility for ethical being. (shrink)

For the better part of the past decade, global social movements have drawn popular attention to the power of image production and acts of representation, particularly the ways ubiquitous cameras challenge the exercise of power This essay lays out a theoretical schema for interrogating a broader “politics of visibility” at work in the early twenty-first century, most readily apparent through the activities of smartphone-enabled and visually-savvy activists. As new media technologies have opened up new strategies of representation, these modes of (...) representation have been incorporated into existing media practices that delimit the ways in which the consequentiality of various movements and political projects can be understood. Theoretically revisiting the concept of visibility, this essay critiques the relationship between technology and the production of knowledge in media studies before arguing that the visibility of an event presages a consequentiality partially determined by the ways in which it is rendered perceptible and thus, intelligible. (shrink)

An archive is an integral part of literate and social life and is in the custody of political institutions for their historical value. It is argued that societies who lack the faculty of recording histories contribute to the archive-making process in a different context. To advance this, the work of anthropologists on the Igorots, more specifically the Kalingas, of the Philippine Cordilleras, and their tattooing practices are considered for heuristic purposes. It is in these societies, where the concept of the (...) Western archive is absent, that the body becomes a repository of significant life events and rituals concretized by tattoos. Tattooing becomes a form of memory on how bodies remember and create narratives and counter-narratives. To serve as a provocation for further research, Derrida’s two-fold understanding of the archive is utilized. The archive, on the one hand, as a commencement that evokes the writing of the archive and, on the other hand, the understanding of the tattoos as disjointed and incomplete, allows us to understand tattoos as a trace. (shrink)

Historical geographies of black people in Britain are sorely lacking within the geographical discipline. This is, perhaps, partly because finding histories of black people is relatively difficult. Photography has proved to be an interesting and practical way of recovering such histories, but the use of photography as a research tool raises questions about the inscription of race in Victorian and contemporary society. In this paper I draw attention to the methodological questions that have arisen while undertaking research that appears simultaneously (...) to undermine and to reinforce the issues of racialisation it attempts to deconstruct. (shrink)

While most other works focus on conspiracy theories, this book examines conspiracy panics, or the anxiety over the phenomenon of conspiracy theories. Jack Z. Bratich argues that conspiracy theories are portals into the major social issues defining U.S. and global political culture. These issues include the rise of new technologies, the social function of journalism, U.S. race relations, citizenship and dissent, globalization, biowarfare and biomedicine, and the shifting positions within the Left. Using a Foucauldian governmentality analysis, Bratich maintains that conspiracy (...) panics contribute to a broader political rationality, a (neo)liberal strategy of governing at a distance through the use of reason. He also explores the growing popularity of 9/11 conspiracy research in terms of what he calls the "sphere of legitimate dissensus." Conspiracy Panics concludes that we are witnessing a new fusion of culture and rationality, one that is increasingly shared across the political spectrum. (shrink)

This article explores and critically contextualises the photographic production of heliotherapist Auguste Rollier (1874–1954), specifically the ‘patient portraits’ photographed at his Leysin sanatoria over a substantial period of four decades, c.1903–1944. It argues that these photographs, ignored in secondary literature, were particularly persuasive in communicating the natural healing powers of sunlight and through their international dissemination brought Rollier's work professional acclaim and prestige. Always presenting anonymous patients, and most often children, the images produced for Rollier's work interweave aesthetic and medical (...) interests. Whether through the aesthetics of the photograph, of the positioning and appearance of the patient's body, or of the language used to describe these, issues of beauty and harmony were significant preoccupations for Rollier and the dissemination of his heliotherapeutic practice. The article argues that these aesthetic preoccupations drove his work, that the patient's progress and final cure, and thus the therapy's efficacy, were determined by aesthetic criteria—read through the body itself and its photographic representation. This legibility, of the body and its photography, was crucial to articulating the sun's perceived natural ability to improve, heal and even ‘rebuild’ individual patients into socially and physically productive citizens. As such, the article contends, Rollier privileged image over word, conceiving the former as possessing an unequalled ‘eloquence’ to communicate the efficacy and social potential of heliotherapy. (shrink)

Aesthetics and communications theories are often applied to art, media and popular culture but not within legal empirical (audiovisual) material—despite the fact that a judicial and legal process comprises a palpable utilisation of the visual as evidence of an historical reality. Based on four distinct Swedish cases, this study analyses the court’s reasoning, interpretation and use of (audio)visual evidence. Inspired by an embodied film theory, Benjamin’s thoughts on the technical-dramaturgical components of the camera and the later Barthes’ notion of the (...) ‘punctum’, the article discusses how (audio)visual evidence cannot be disconnected from affective and aesthetic significances that ultimately can be taken to affect the perception of truth and (the crime’s) reality. The gap between theory and practice is debated and argued as beginning to co-exist; instead of seeing (visual) theory and (judicial) practice as a dichotomy, an attempt should be made for a conversation between seemingly different but in practice related areas of knowledge. The author’s aim is to suggest that photographic and filmic evidence has a particular significance in itself, which means that the relation between (judicial) interpretation and outcome should be considered within an affective and aesthetic dimension, rather than being placed and/or theorized outside of it. (shrink)

Benjamin and Barthes provide the starting point for a series of inter-connected propositions which seek to return the theorization of photography to the primacy of the pro-filmic. The index is reclaimed as a trace of the photographic event, capable only of delivering what Barthes termed the corps. The resulting contingency and exorbitance are the basis of photography’s prophetic and ‘troubling’ potential which free us from viewing photography as simply a screen for the social. The argument is advanced largely using material (...) from India and a case is made for a new conception of ‘world system photography’ which folds ‘belated’ histories into the ‘global’. (shrink)

In this paper I chart the seismic shift that has occurred over the past three decades in attitudes towards the interpretation of visual images. My strategy implies the argument that the reading of visual images would appear to be an inevitability given the accelerating change of attitudes towards pictures as containers of determinate knowledge. French critical theorists (Foucault, Barthes, Derrida et. al.) dominated debate on interpretation of text and image in the 1980s, where my survey begins. Michel Foucault dismissed the (...) image (in Madness and Civilization 1959/1988) as a fascinating site for the madness of dreams but one standing outside of reasoned interpretation because of an inherent excess of meaning and deeply hidden attributes and allusions. Generally, however, when images were discussed using identifiable interpretive strategies in the 1980s the framework was a variant of semiotic analysis (Marin, Eco and Barthes – who famously, diverges from this mode in Camera Lucida). I use W. J. T. Mitchell’s Iconology: Image, Text, Ideology 1986 as a focal text from the 1980s and follow this with two of his publications on images, one from 1995 and another from 2005 to demonstrate the dramatic shift in the approach to pictures across almost three decades. Around these focal texts by Mitchell I reference other texts and trends that culminate in the more recent proliferation of texts related to visual studies and the re-emergence of aesthetics. (shrink)