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xii | |
| Acknowledgements |
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xv | |
| Permissions |
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xvi | |
| Introductions/Provocations/Conversations |
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The Subject of Visual Culture |
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3 | (21) |
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24 | (13) |
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Narrativizing Visual Culture: Towards a Polycentric Aesthetics |
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37 | (23) |
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Kino-I, Kino-World: Notes on the Cinematic Mode of Production |
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60 | (26) |
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Showing Seeing: A Critique of Visual Culture |
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86 | (16) |
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Conversations in Visual Culture |
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102 | (14) |
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| Plug-in theory |
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Introduction to Plug-In Theory |
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111 | (5) |
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116 | (6) |
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The Fetishism of the Commodity |
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122 | (2) |
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124 | (2) |
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126 | (3) |
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129 | (3) |
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132 | (3) |
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135 | (4) |
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Ideology and Ideological State Apparatuses |
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139 | (3) |
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The Society of the Spectacle |
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142 | (3) |
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Simulacra and Simulations |
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145 | (2) |
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Prohibition, Psychoanalysis and the Heterosexual Matrix |
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147 | (5) |
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Virtual Bodies and Flickering Signifiers |
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152 | (21) |
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| PART ONE GLOBAL/DIGITAL |
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161 | (12) |
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| (a) Imagining globalization |
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173 | (7) |
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Remaking Passports: Visual thought in the Debate on Multiculturalism |
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180 | (10) |
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Ethnicity and Internationality: New British Art and Diaspora-Based Blackness |
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190 | (14) |
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The Multiple Viewpoint: Diaspora and Visual Culture |
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204 | (11) |
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Gender, Race and Nation in Japanese Contemporary Art and Criticism |
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215 | (14) |
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| (b) The space of the digital |
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229 | (8) |
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237 | (6) |
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243 | (12) |
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'Where Do You Want to Go Today?' Cybernetic Tourism, the Internet, and Transnationality |
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255 | (9) |
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Eden by Wire: Webcameras and the Telepresent Landscape |
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264 | (15) |
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Satellite and Cyber Visualities: Analyzing `Digital Earth' |
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279 | (28) |
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| PART TWO SPECTACLE AND DISPLAY |
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295 | (12) |
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| (a) Spectacle, display, surveillance |
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Historical Citizenship and the Fremantle Prison Follies: Frederick Wiseman Comes to Western Australia |
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307 | (17) |
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324 | (15) |
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The Great Un-American Numbers Game |
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339 | (18) |
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The Wall, The Screen and The Image: The Vietnam Veterans Memorial |
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357 | (14) |
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The Prison House of Culture: Why African Art? Why the Guggenheim? Why Now? |
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371 | (12) |
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383 | (12) |
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| (b) Cinema after film, television after the networks |
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The Mobilized and Virtual Gaze in Modernity: Flaneur/Flaneuse |
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395 | (10) |
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405 | (12) |
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Film and the Digital in Visual Studies: Film Studies in the Era of Convergence |
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417 | (16) |
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Kung Fu Cinema and Frugality |
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433 | (18) |
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451 | (7) |
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Reload: Liveness, Mobility and the Web |
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458 | (25) |
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| PART THREE VISUAL COLONIALISM/VISUAL TRANSCULTURE |
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Introduction to Part Three |
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473 | (10) |
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| (a) Visual colonialism |
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Visual Regimes of Colonization: Aboriginal Seeing and European Vision in Australia |
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483 | (12) |
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Orientalism and the Exhibitionary Order |
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495 | (11) |
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Soft-Soaping Empire: Commodity Racism and Imperial Advertising |
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506 | (13) |
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519 | (6) |
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Vodun Art, Social History and the Slave Trade |
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525 | (8) |
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| (b) Identity and transculture |
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'His Master's OBI': Machine Magic, Colonial Violence, and Transculturation |
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533 | (13) |
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Passing for White, Passing for Black |
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546 | (10) |
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The Other History of Intercultural Performance |
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556 | (9) |
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Photography and the Substance of the Image |
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565 | (19) |
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Engendering New Worlds: Allegories of Rape and Reconciliation |
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584 | (19) |
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| PART FOUR THE GAZE, THE BODY AND SEXUALITY |
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Introduction to Part Four |
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593 | (10) |
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| (a) The gaze and sexuality |
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Ideal Masculinities: An Anatomy of Power |
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603 | (14) |
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The Forbidden Gaze: Women Artists and the Male Nude in Late Nineteenth-Century France |
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617 | (8) |
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625 | (11) |
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The Third Body: Patterns in the Construction of the Subject in Gay Male Narrative Film |
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636 | (18) |
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Looking Good: The Lesbian Gaze and Fashion Imagery |
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654 | (15) |
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The Transgender Gaze in Boys Don't Cry |
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669 | (8) |
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| (b) Technobodies/Technofeminism |
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The Persistence of Vision |
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677 | (8) |
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On the Cutting Edge: Cosmetic Surgery and the Technological Production of the Gendered Body |
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685 | (11) |
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Dispersed Subjects and the Demise of the `Individual': 1990s Bodies In/As Art |
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696 | (15) |
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| Notes on contributors |
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711 | (6) |
| Index |
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717 | |
