https://journals.eagora.org/VISUALrev/issue/feed The International Visual Culture Review 2020-05-25T09:10:16+02:00 Editorial Board publishing@gkacademics.com Open Journal Systems <p><em>The International Visual Culture Review</em> (VISUALrev) is interested in a wide range of topics related to the traditional categories of art history (painting, sculpture, architecture) together with photography, cinema, infographics, design, fashion, advertising, dance, theater, comics, graffiti, net. Art, advertising, among others. The journal includes theoretical works, thematic reviews, methodological proposals and case studies, written from a trans and interdisciplinary perspective, emphasizing two issues: image and artistic heritage; that is, the image as an object of study and as a source of information for the evolutionary knowledge of the artistic-visual culture.</p> <p><span id="result_box" lang="en">The journal is peer-reviewed and accepts original articles written in English.</span></p> https://journals.eagora.org/VISUALrev/article/view/2248 New Wars and Their Visual Representation: Dead Bodies without Graves/Mourne 2020-05-25T09:05:42+02:00 Tuncay Şur surtuncay@gmail.com Betül Yarar betyarar@gmail.com <p>This paper seeks to understand why there has been an increase in photographic images exposing military violence or displaying bodies killed by military forces and how they can freely circulate in the public without being censored or kept hidden. In other words, it aims to analyze this particular issue as a symptom of the emergence of new wars and a new regime of their visual representation. Within this framework, it attempts to relate two kinds of literature that are namely the history of war and war photography with the bridge of theoretical discussions on the real, its photographic representation, power, and violence. &nbsp;Rather than systematic empirical analysis, the paper is based on a theoretical attempt which is reflected on some socio-political observations in the Middle East where there has been ongoing wars or new wars. The core discussion of the paper is supported by a brief analysis of some illustrative photographic images that are served through the social media under the circumstances of war for instance in Turkey between Turkish military troops and the Kurdish militants. The paper concludes that in line with the process of dissolution/transformation of the old nation-state formations and globalization, the mechanism and mode of power have also transformed to the extent that it resulted in the emergence of new wars. This is one dynamic that we need to recognize in relation to the above-mentioned question, the other is the impact of social media in not only delivering but also receiving war photographies. Today these changes have led the emergence of new machinery of power in which the old modern visual/photographic techniques of representing wars without human beings, torture, and violence through censorship began to be employed alongside medieval power techniques of a visual exhibition of tortures and violence.</p> 2020-03-21T00:00:00+01:00 Copyright (c) 2020 The International Visual Culture Review https://journals.eagora.org/VISUALrev/article/view/2191 White Zombie as Captivity Narrative and the Death of Certainty 2020-05-25T09:07:36+02:00 Mark C Anderson mark.anderson@carleton.ca <p>Horror films such as <em>White Zombie</em> (1932) reveal viewers to themselves by narrating in the currency of audience anxiety. Such movies evoke fright because they recapitulate fear and trauma that audiences have already internalized or continue to experience, even if they are not aware of it. <em>White Zombie</em>’s particular tack conjures up an updated captivity narrative wherein a virginal white damsel is abducted by a savage Other.</p> <p>The shell of the captivity story, of course, is as old as America. In its earliest incarnation it featured American Indians in the role as savage Other, fiendishly imagined as having been desperate to get their clutches on white females and all that hey symbolized. In this way, it generated much of the emotional heat stoking Manifest Destiny, that is, American imperial conquest both of the continent and then, later, as in the case of Haiti, of the Caribbean Basin.</p> <p><em>White Zombie</em> must of course be understood in the context of the American invasion and occupation of Haiti (1915-1934). As it revisits the terrain inhabited by the American black Other, it also speaks to the history of American slavery. The Other here is African-American, not surprisingly given the date and nature of American society of the day, typically imagined in wildly pejorative fashion in early American arts and culture.</p> <p>This essay explores <em>White Zombie</em> as a modified captivity narrative, <em>pace</em> <em>Last of the Mohicans </em>through John Ford’s <em>The Searchers</em> (1956), the <em>Rambo</em> trilogy (1982, 1985, 1988), the <em>Taken</em> trilogy (2008, 1012, 2014), even Mario and Luigi’s efforts to rescue Princess Peach from Bowser.</p> 2020-04-12T00:00:00+02:00 Copyright (c) 2020 The International Visual Culture Review https://journals.eagora.org/VISUALrev/article/view/2084 Makeup Trends on Television Newscasts in the U.S. during the 20th century: Exploring High-Definition Television, Journalists, and Appearance 2020-05-25T09:10:16+02:00 Paola Andrea Albarran paoladuartemarin@gmail.com <p>This study is an exploration of&nbsp;the shift from standard definition (SDTV) to high-definition (HDTV)&nbsp;on television newscasts in the United States. This paper examines how this major historic shift affected the thinking, behavior, and trends of female newscasters when using makeup&nbsp;to see what themes arose.&nbsp;Despite the ubiquity of female newscasters, academic research into the influence of HD broadcasting and makeup appearance is limited. Due to this lack of information,&nbsp;the present study&nbsp;provides&nbsp;a cultural approach to examining historical information about this switch. News West 9 broadcasted in Midland-Odessa and interviews to a female newscaster, a news director, and a makeup artist who experienced this shift are utilized to address the historical issues facing high-definition broadcasting during this time.&nbsp;</p> 2020-04-17T00:00:00+02:00 Copyright (c) 2020 The International Visual Culture Review