Week One: Introduction

It is recommended that you read Spyer & Steadly (2013) or Rose (2001) but these are not required until week two.

Week Two: Theories of Visual Power: One.

Gillian Rose, “Researching Visual Materials: toward a critical visual methodology” Visual Methodologies: An introduction to the interpretation of visual materials, California: Sage, 2001, 5-32.

Spyer, P & Steadly, M. “Introduction” in Images that Move, Sante Fe: SarPress, 2013, 3-39.

Mitchell, William J. Thomas. "What Do Pictures" Really" Want?." October 77 (1996): 71-82.

Taylor, Lucien. "Iconophobia." Transition 69 (1996): 64-88.

Week Three: Theories of Visual Power: Two

Adorno, M and Horkeimer, T “The culture industry” in Dialectic of Enlightenment, published in “Media and Culture Studies”, Douglas M. Kellner, Meenakshi Gigi Durham (eds), NJ, Wiley:1944 [2006]: 41- 72.

Benjamin, W.“The Work of Art in the Age of its Technological Reproducibility”, in The work of art in the age of its technological reproducibitily and other writings on media Jennings, Doherty & Levin (eds), The Belknap Press of Harvard Univeristy Press: Cambridge, MA.(2008 [1935]): 19-41.

Jodi Dean “Celebrity’s Drive” in Dean, Jodi. Publicity's secret: How technoculture capitalizes on democracy. Cornell: Cornell University Press (2002):114-150

Barthes, R. Camera Lucida: Reflections on Photography. Translated by Richard Howard. London: Vintage, (1981):23-60

Week Four: Materiality of the Visual

Larkin, Brian. “Degraded Images” in Signal and noise: Infrastructure and Urban Culture in Nigeria. Durham: Duke University Press, (2008): 289-314.

Flood, Finbarr Barry. "Between cult and culture: Bamiyan, Islamic iconoclasm, and the museum." The Art Bulletin 84, no. 4 (2002): 641-659.

Bruno, Giuliana. Surface: Matters of aesthetics, materiality, and media. Chicago: University of Chicago Press, 2014 [Excerpts]

Klima, Alan. “The Charnel Ground” in The funeral casino. Princeton, NJ: Princeton University Press, 2009: 184-230.

Week Five: Race and its Depictions

Roth, L. “Looking at Shirley, the Ultimate Norm: Colour Balance, Image Technologies, and Cognitive Equity”. Canadian Journal of Communication, 34 no 1 (2009): 111-136.

Poole, D. “Equivalent Images” in Vision, Race & its Modernity, p. 107-141

Croft, B. “Laying Ghosts to Rest” in Hight, Eleanor M., and Gary D. Sampson, eds. Colonialist photography: imag (in) ing race and place. Vol. 9. London: Routledge, (2013): 20-29.

Fleetwood, N. 2020. “Captured by the frame: photographic studies of prisoners“ in Marking Time: Art in the Age of Mass Incarceration, Cambridge, MA: Harvard University Press: 87-117

Week Six: Advertising & Nationalism

Dávila, Arlene. “Images: Producing Culture for the Market” in Latino Spin: Public Image and the Whitewashing of Race. New York: NYU Press (2008): 91-119; 29 pages

Fattal, A. “Operation Christmas” in Guerrilla Marketing: Counterinsurgency and Capitalism in Colombia: Chicago: University of Chicago Press (2018): 80-110

Mazarrella, W.“Citizens Have Sex, Consumers Make Love: KamaSutra I” in Shovelling Smoke: Advertising & Globalization in Contemporary India. Durham: Duke University Press (2003): 59-98

Kemper, S.1993. “The nation consumed: buying and believing in Sri Lanka” Public Culture 5 (3): 3770393.

Week Seven: Affect & Atmosphere

Seigworth, G. & Gregg, M.“An inventory of shimmers” in Affect Theory Reader, Gregg, Melissa, Gregory J. Seigworth, and Sara Ahmed, eds, Durham: Duke University Press(2010): 1-28,

Massumi, B. “The Future Birth of the Affective Fact: The Political Ontology of Threat” Affect Theory Reader, Gregg, Melissa, Gregory J. Seigworth, and Sara Ahmed, eds, Durham: Duke University Press, (2010): 52-70.

Street, A., 2012. Affective infrastructure: Hospital landscapes of hope and failure. Space and Culture, 15(1), pp.44-56.

Brady, L.M., Bradley, J.J. and Kearney, A.J., 2016. Negotiating Yanyuwa rock art: relational and affectual experiences in the southwest Gulf of Carpentaria, northern Australia. Current Anthropology, 57(1), pp.28-52.

Week Eight: Protest & Censorship: Indonesia

Lee, D. 2016. “Introduction: Pemuda Fever” and “Style” in , Activist Archives: Youth Culture and the political past in Indonesia, Durham: Duke University Press:1-24 & 85-116

Strassler, K. 2020.“The gender of transparency” & “Naked Effects” in Demanding Images: Democracy, Mediation and the Image Event in Indonesia, Durham: Duke University Press.: 67-94, 133-168.

Week Nine: Propaganda & Popular Culture: Thailand

Chotpradit, Thanavi. "A dark spot on a royal space: The art of the People's Party and the politics of Thai (art) history." Southeast of Now: Directions in Contemporary and Modern Art in Asia 1, no. 1 (2017): 131-157

Unaldi, S. “The Politics of Space I: Siam-Ratchaprasong from Above” in Working towards the Monarchy: The Politics of Space in Downtown Bangkok, Honolulu: University of Hawai'i Press (2016):144- 190.

Lim, S. “Chapter Four: Murder Reenacted” in Siam's new detectives: Visualizing crime and conspiracy in modern Thailand. University of Hawai'i Press, 2016.

Veal, Clare. "The charismatic index: Photographic representations of power and status in the Thai social order." The Trans-Asia Photography Review 3, no. 2 (Spring 2013) Permalink: http://hdl.handle.net/2027/spo.7977573.0003.207

Week Ten: Indigenous Visions

Ahtone, H 2019. Considering Indigenous Aesthetics: a non-Western paradigm. American Indian Cultural Center and Museum Available Online at https://cdn.ymaws.com/aesthetics-online.org/resource/resmgr/articles/heatherahtone.pdf : 1-3

Raheja, M. H. (2011). “Visual Sovereignty, Indigenous Revisions of Ethnography, and Atanarjuat (The Fast Runner)” in Reservation realism: Redfacing, visual sovereignty, and representations of Native Americans in film. U of Nebraska Press. P. 190-220

Nzegwu, N., 2019. African Art in Deep Time: De‐race‐ing Aesthetics and De‐racializing Visual Art: Nzegwu African Art in Deep Time. The Journal of Aesthetics and Art Criticism, 77(4), pp.367-378.

Meyer, B. “Film as Revelation” in Sensational Movies: Video, Vision and Christianity in Ghana. Berkeley: University of California Press, (2015): 153- 191

Week Eleven: Indigenous Art as Commodity

Mithlo, N. “No Word for Art in Our Language?: Old Questions, New Paradigms,” Wicazo Sa Review, 27, No. 1,(Spring 2012):111-126.

Morphy. H, “A Journey to Recognition: The “Discovery” of Aboriginal Art” in Aboriginal Art, London, England: Phaidon Press (1998): 13–64.

Geismar, H. “Alternative Market Values? Interventions into Auctions in Aotearoa/New Zealand,” The Contemporary Pacific Vol. 20, No. 2 (2008): 291–327

Dragojlovic, A, “Mis-placed Boomerangs: Artistic Creativity Supply Chain Capitalism, and the Production of Ethnic Arts in Bali”, The Asia Pacific Journal of Anthropology, 13 no. 3 (2019): 245-261,

Week Twelve: New Media

Abidin, Crystal. "“Aren’t these just young, rich women doing vain things online?”: Influencer selfies as subversive frivolity." Social media+ society 2, no. 2 (2016): 2056305116641342.

Gusterson, H. Drone warfare in Waziristan and the new military humanism. Current Anthropology, 60 no. 19 (2019), 77-86.

Simpson, A. “Tell me why, why, why”: A Critical Commentary on the Visuality of Settler Expectation. Visual Anthropology Review, 34 no. 1 (2018): 60-66.