The International Visual Culture Review <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> en-US Those authors who have been published in this journal accept the following terms:<ol type="a"><li>Authors will keep the moral copyright of the work and they will transfer the commercial rights. In this way, the author will only be able to upload the <strong>author’s original version</strong> into his/her personal Website or into the university (or research center) institutional archive, but the <strong>publisher’s version </strong>won’t (copyright, commercial rights). You can see a explanation of the <em>author’s original version</em> and <em>publisher’s version </em><a href="/index.php/image/about/editorialPolicies#authorSelfArchivePolicy">here</a>.</li><li>After <strong>two years </strong>in publication, publisher’s version shall thereafter become <strong>in open access </strong>online from our editorial website, but our review will retain the work’s copyright. In other words, publisher’s version will be accesible for everyone and permanently from our editorial Website, but it may not be upload in any other website. Anyone wanting to read or to download publisher’s version must visit our editorial website. In this way, if you want to reference publisher’s version in your personal website or into any institutional archive, you may link to our editorial website to reference publisher’s version.</li><li><strong> </strong>In case authors wanting to get publisher’s version in order to <strong>their works could freely circulate </strong>(for example,to upload publisher’s version in their personal’s website or into any institutional archive) they can do it on condition that they will have to pay an <strong>85€ fee</strong>. In this case, our editorial will permanently assign to the publisher’s version. In such a way, an open license <strong>Creative Commons</strong> <strong>(CC)</strong> will be assigned by us. This license will allow for a free work circulation by the Internet, without anybody being able to appropriate it at no time. The authors may choose the type of license they wish, but it’s important to decide soundly which type of license they want. If you choose this option, we would be glad to offer free advisory service soyoy can safely choose the one that is best for you and for your particular case.</li></ol> (Editorial Board) (Editorial Board) Wed, 11 Mar 2020 11:04:14 +0100 OJS 60 New Wars and Their Visual Representation: Dead Bodies without Graves/Mourne <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> Tuncay Şur, Betül Yarar Copyright (c) 2020 The International Visual Culture Review Sat, 21 Mar 2020 00:00:00 +0100 White Zombie as Captivity Narrative and the Death of Certainty <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> Mark C Anderson Copyright (c) 2020 The International Visual Culture Review Sun, 12 Apr 2020 00:00:00 +0200 Makeup Trends on Television Newscasts in the U.S. during the 20th century: Exploring High-Definition Television, Journalists, and Appearance <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> Paola Andrea Albarran Copyright (c) 2020 The International Visual Culture Review Fri, 17 Apr 2020 00:00:00 +0200 Albrecht Durer and the 16TH Century Melancholy <p>Little has been discussed in academia about the close relationship between the Renaissance of the 16th century and melancholy humor, and esoteric elements arising mainly from Florentine Neoplatonism. The link between melancholy and esotericism becomes very clear when we analyze the gravure “Melencolia I” by Albrecht Dürer (1471-1528), composed of a significant number of symbols that refer to an esoteric religious culture that then emerged. Renaissance melancholy gained several nuances. On the one hand, it was considered a sin, a despicable mood characteristic of witches; on the other hand, a deep sense of inspiration typical of men of “genius”. This ambivalence also occurred in the firmament, as the melancholic people were guided by the dark planet Saturn, according to astrological belief. We also have the cultural scenario of the 16th century, especially in Dürer's Germany, which contributed to strengthening the melancholy issues.</p> Marcel Henrique Rodrigues Copyright (c) 2020 The International Visual Culture Review Wed, 10 Jun 2020 13:18:57 +0200