- Taschenbuch: 329 Seiten
- Verlag: Univ of California Pr; Auflage: New Ed (10. Dezember 1996)
- Sprache: Englisch
- ISBN-10: 0520202996
- ISBN-13: 978-0520202993
- Größe und/oder Gewicht: 22,4 x 15,2 x 2,4 cm
- Durchschnittliche Kundenbewertung: 5.0 von 5 Sternen Alle Rezensionen anzeigen (1 Kundenrezension)
- Amazon Bestseller-Rang: Nr. 340.886 in Englische Bücher (Siehe Top 100 in Englische Bücher)
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Kurzbeschreibung
Recent discussions about the culture of images have focused on issues of identity - sexual, racial, national - and the boundaries that define subjectivity. In this context Victor Burgin adopts an original critical strategy. He understands images less in traditional terms of the specific institutions that produce them, such as cinema, photography, advertising, and television, and more as hybrid mental constructs composed of fragments derived from the heterogeneous sources that together constitute the 'media'. Through deft analyses of a photograph by Helmut Newton, Parisian cityscapes, the space of the department store, a film by Ousmane Sembene, and the writings of Henri Lefebvre, Andre Breton, and Roland Barthes, Burgin develops an incisive theory of our culture of images and spectacle. "In/Different Spaces" explores the construction of identities in the psychical space between perception and consciousness, drawing upon psychoanalytic theories to describe the constitution and maintenance of 'self' and 'us' - in imaginary spatial and temporal relations to 'other' and 'them' - through the all-important relay of images. For Burgin, the image is never a transparent representation of the world but rather a principal player on the stage of history.
Synopsis
Recent discussions about the culture of images have focused on issues of identity - sexual, racial, national - and the boundaries that define subjectivity. In this context, Victor Burgin adopts an original critical strategy. He understands images less in traditional terms of the specific institutions that produce them, such as cinema, photography, advertising, and television, and more as hybrid mental constructs composed of fragments derived from the heterogeneous sources that together constitute the "media".Through deft analyses of a photograph by Helmut Newton, Parisian cityscapes, the space of the department store, a film by Ousmane Sembene, and the writings of Henri Lefebvre, Andre Breton, and Roland Barthes, Burgin develops an incisive theory of our culture of images and spectacle. "In/Different Spaces" explores the construction of identities in the psychical space between perception and consciousness, drawing upon psychoanalytic theories to describe the constitution and maintenance of "self" and "us" - in imaginary spatial and temporal relations to "other" and "them" - through the all-important relay of images.For Burgin, the image is never a transparent representation of the world but rather a principal player on the stage of history.
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Einleitungssatz
Although it makes no direct reference to Louis Althusser's essay of 1970, "Ideology and Ideological State Apparatuses," Roland Barthes's essay of 1973, "Diderot. Lesen Sie die erste Seite
Buchdeckel | Copyright | Inhaltsverzeichnis | Auszug | Stichwortverzeichnis | Rückseite
Although it makes no direct reference to Louis Althusser's essay of 1970, "Ideology and Ideological State Apparatuses," Roland Barthes's essay of 1973, "Diderot. Lesen Sie die erste Seite
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Buchdeckel | Copyright | Inhaltsverzeichnis | Auszug | Stichwortverzeichnis | Rückseite
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Format:Taschenbuch
Burgin's book is a wonderful contribution to the growing field of visual culture. His examinations of Helmut Newton are beyond reproach, and his ability to link aesthetic experiences with the development of social consciousness (using, among others, theorists Lacan and Mulvey) is impressive. All delivered with good humor and supplemented by personal anecdote, this book is absolutely vital for anyone interesting in visual culture.
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An invaluable contribution to visual culture
19. Juni 2000
Format:Taschenbuch
Burgin's book is a wonderful contribution to the growing field of visual culture. His examinations of Helmut Newton are beyond reproach, and his ability to link aesthetic experiences with the development of social consciousness (using, among others, theorists Lacan and Mulvey) is impressive. All delivered with good humor and supplemented by personal anecdote, this book is absolutely vital for anyone interesting in visual culture.
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