The annual Chief Big Foot Memorial Ride represents the longest continuous example of Lakota memorial and resistance rides in contemporary Lakota activism. First held in 1986, this commemoration of ...the journey of Chief Big Foot’s band of Lakotas and the subsequent Wounded Knee Massacre in 1890 now reaches beyond the confines of the ride itself through the use of social media profiles that serve to both publicize and document the ride. This article seeks to understand the way that photographs from the rides influence the types and amount of engagement it receives on social media. Using a qualitative and quantitative approach, 304 images and their associated engagements from the 2018 ride were analyzed using content analysis and a grounded theory approach. This revealed that certain characteristics gave rise to the construction of a counterpublic around this ride. Findings suggest that both the content of photos and types of authors for posts influenced the number and types of engagements received by certain photographs. Given the relative isolation of many Indigenous communities in the Americas, these findings suggest that certain strategies for social media posts by Indigenous social movements can overcome these barriers to spread their message to a wider audience through strategic use of imagery associated with these movements.
Este artigo busca contribuir para o debate acerca da Antropologia Visual, refletindo sobre aspectos da história da antropologia brasileira relacionados à adoção da imagem como método de investigação
...This article aims to contribute to the debate about Visual Anthropology, and also regards aspects of the history of Brazilian Anthropology, related to the use of images as a research method.
While Indigenous media have gained increasing prominence around the world, the vibrant Aboriginal media world on the Canadian West Coast has received little scholarly attention. As the first ...ethnography of the Aboriginal media community in Vancouver,Sovereign Screensreveals the various social forces shaping Aboriginal media production including community media organizations and avant-garde art centers, as well as the national spaces of cultural policy and media institutions.
Kristin L. Dowell uses the concept of visual sovereignty to examine the practices, forms, and meanings through which Aboriginal filmmakers tell their individual stories and those of their Aboriginal nations and the intertribal urban communities in which they work. She explores the ongoing debates within the community about what constitutes Aboriginal media, how this work intervenes in the national Canadian mediascape, and how filmmakers use technology in a wide range of genres-including experimental media-to recuperate cultural traditions and reimagine Aboriginal kinship and sociality. Analyzing the interactive relations between this social community and the media forms it produces,Sovereign Screensoffers new insights into the on-screen and off-screen impacts of Aboriginal media.
This essay examines the interweaving of the notions of "civilization" and "evangelization", intersecting them with those of "civility" and "profanation" in the long history of modern colonization and ...contemporary anthropology. His project, to be pursued, is to lift both the taboo of the anthropology underlying modern ethnography and that of the underground exchanges between missionary churches and the activity of anthropologists in the contemporary era. For this exploration, he calls on figures who are rarely brought together, such as Guillermo Furlong and Maurice Leenhardt.
This substantial essay depicts urban collapse in an exceptionally difficult period of the Serbian capital. The author has marshalled facts, reflections, photographs and other imagesto demonstrate the ...transformation of Belgrade during the Milošević years. With the theoretical grounding of cultural anthropology, history studies, culture of memory, history of art, and urbanism, Mileta Prodanović considers changes to the built environment and urban landscape in the city in the 1990s. He covers many visual aspects of life with great ingenuity: shopping centers, unregulated construction and “wild” modifications of buildings, new buildings (broadcasting studios, shops, homes) that do not fit the surroundings, bad taste in home furnishings (camp, kitsch), boondoggles such as the international art center, problematic historical markers like the obelisk of the eternal flame, billboards, store displays, electoral propaganda, graffiti, grave-markers and cemetery memorials, coins and paper money, calendars, beer labels, and even religious icons (and more). All this information is provided with some critique and much implied comparison to past standards.
This dialogue is part of a cross‐platform collaboration with Visible Language, the oldest peer‐reviewed design journal. Animated by questions about visual methods, genre, form, and analysis—how they ...differ or converge between design and anthropology, what each field has to offer the other—it contextualizes current issues in academic journal publishing from the perspective of visual studies, social science, and design, fields that do not drive contemporary transformations in journal publishing. It considers the academic journal as a form, editorial labor and politics, reaching audiences beyond the paywall, and measuring the value of scholarship, journals, and visual research.
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A compelling theory that places the origin of human
picture making in the body In this groundbreaking book,
renowned art historian Hans Belting proposes a new anthropological
theory for interpreting ...human picture making. Rather than focus
exclusively on pictures as they are embodied in various media such
as painting, sculpture, or photography, he links pictures to our
mental images and therefore our bodies. The body is understood as a
"living medium" that produces, perceives, or remembers images that
are different from the images we encounter through handmade or
technical pictures. Refusing to reduce images to their material
embodiment yet acknowledging the importance of the historical media
in which images are manifested, An Anthropology of Images
presents a challenging and provocative new account of what pictures
are and how they function. The book demonstrates these ideas with a
series of compelling case studies, ranging from Dante's picture
theory to post-photography. One chapter explores the tension
between image and medium in two "media of the body," the coat of
arms and the portrait painting. Another, central chapter looks at
the relationship between image and death, tracing picture
production, including the first use of the mask, to early funerary
rituals in which pictures served to represent the missing bodies of
the dead. Pictures were tools to re-embody the deceased, to make
them present again, a fact that offers a surprising clue to the
riddle of presence and absence in most pictures and that reveals a
genealogy of pictures obscured by Platonic picture theory.
Through an intensive examination of photographs and engravings from European, Peruvian, and U.S. archives, Deborah Poole explores the role visual images and technologies have played in shaping modern ...understandings of race. Vision, Race, and Modernity traces the subtle shifts that occurred in European and South American depictions of Andean Indians from the late eighteenth to the early twentieth centuries, and explains how these shifts led to the modern concept of "racial difference." While Andean peoples were always thought of as different by their European describers, it was not until the early nineteenth century that European artists and scientists became interested in developing a unique visual and typological language for describing their physical features. Poole suggests that this "scientific" or "biological" discourse of race cannot be understood outside a modern visual economy. Although the book specifically documents the depictions of Andean peoples, Poole's findings apply to the entire colonized world of the nineteenth century. Poole presents a wide range of images from operas, scientific expeditions, nationalist projects, and picturesque artists that both effectively elucidate her argument and contribute to an impressive history of photography. Vision, Race, and Modernity is a fascinating attempt to study the changing terrain of racial theory as part of a broader reorganization of vision in European society and culture.
This index covers the Volumes 21–30 of Visual Anthropology, which were issued over the years 2008–2017. The layout of the various sections follows that of our previous two cumulative indexes, which ...were published at the end of Volumes 10 and 20, but with one useful addition: the current index contains a listing of Ethnic and National Entities. As this topic was not covered previously, we here list all the relevant references from Volume 1 onward (1987–2017).
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