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Practices of Looking
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Table of Contents

Acknowledgements Introduction Chapter 1. Images, Power, and Politics Representation Vision and Visuality The Myth of Photographic Truth Myth, Connotation, and the Meaning of Images Semiotics and Signs Images and Ideology Image Icons Chapter 2. Viewers Make Meaning Producers' Intended Meanings Aesthetics and Taste Value, Collecting, and Institutional Critique Reading Images as Ideological Subjects Viewing Strategies Appropriation and Re-Appropriation Chapter 3. Modernity: Spectatorship, the Gaze, and Power Modernity Modernism The Concept of the Modern Subject Spectatorship and the Gaze Power and the Surveillance Gaze The Other Gender and the Gaze Gaming and the Gaze Chapter 4. Realism and Perspective: From Renaissance Painting to Digital Media Perspective Perspective and the Body The Camera Obscura Challenges to Perspective Perspective in Digital Media Chapter 5. Visual Technologies, Reproduction, and the Copy Visualization and Technology Visual Technologies The Reproduced Image and the Copy Walter Benjamin and Mechanical Reproduction The Politics of Reproducibility Ownership and Copyright Reproduction and the Digital Image 3D Reproduction and Simulation Chapter 6. Media in Everyday Life The Media, Singular and Plural Everyday Life Mass Culture and Mass Media Critiques of Mass Culture Media Infrastructures Media as Nation and Public Sphere Democracy and Citizen Journalism Global Media Events Chapter 7. Brand Culture: The Images and Spaces of Consumption The Rise of Brands as Image, Symbol, and Icon The Spaces of Modern Consumerism Brands in Consumer Society Social Awareness and the Selling of Humanitarianism Social Media, Consumer Data, and the Changing Spaces of Consumption DIY Culture and the Share Economy, and New Entrepreneurism Chapter 8. Postmodernism: Irony, Parody, and Pastiche Postmodernity/Postmodernism Simulation and the Politics of Postmodernity Reflexivity and Distanced Knowing Jaded Knowing and Irony Remix and Parody Pastiche Postmodern Space, Architecture, and Design Chapter 9. Scientific Looking, Looking at Science Opening Up the Body to the Empirical Medical Gaze Medicine as Spectacle: The Anatomical and Surgical Theater Evidence, Classification, and Identification Bodily Interiors and Biomedical Personhood The Genetic and Digital Body Visualizing Pharmaceuticals and Science Activism Chapter 10. The Global Flow of Visual Culture The History of Global Image Reproduction Concepts of Globalization The World Image Global Television The Global Flow of Film Social Movements, Indigenous Media, and Visual Activism The Global Museum and Contests of Culture Refugees and Borders Glossary Credits Index

About the Author

Marita Sturken is Professor of Media, Culture, and Communication at New York University. Lisa Cartwright is Professor of Communication and Science Studies at the University of California, San Diego.

Reviews

"The greatest strength of Practices of Looking is its thorough treatment of the conceptual and material landscape of postmodern visual culture, and this definitely distinguishes it from similar textbooks I've seen." -- Kent N. Lowery, Texas Tech University "Practices of Looking, Third Edition, is a great and valuable textbook for teaching a broad range of critical and theoretical approaches in modern and contemporary visual practices."--Whitney Huber, Columbia College Chicago "Practices of Looking's ambitions are unparalleled and it's clear that the writers are deeply engaged with the social, psychological and economic consequences of the ways in which images influence how we see ourselves and the world around us." -- Jawad Ali, Art Institute of California, Hollywood "The greatest strength of Practices of Looking, Third Edition, is its relentless drive to instill critical awareness in students. This book contributes greatly to promoting the type of visual literacy that is needed in society both now and in the foreseeable future."--William H. Lawson, California State University, East Bay "This is that rarest of textbooks--clear enough for undergraduates and challenging enough to use with graduate students. It is simply the best introduction to the most important issues in thinking about the visual from an interdisciplinary perspective."--Michael Coventry, Georgetown University

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