Bøger af W. J. T. Mitchell

Communications, philosophy, film and video, digital culture: media studies straddles an astounding array of fields and disciplines and produces a vocabulary that is in equal parts rigorous and intuitive. This title defines what this hybrid area aims to do, exploring our language for dealing with the qualities and modes of contemporary media.

Features three essays that engage with the extraordinary Occupy Wall Street movement that has swept across the world, examining everything from self-immolations in the Middle East to the G8 crackdown in Chicago to the many protest signs still visible worldwide.

According to Mitchell, a "e;color-blind"e; post-racial world is neither achievable nor desirable. Against claims that race is an outmoded construct, he contends that race is not simply something to be seen but is a fundamental medium through which we experience human otherness. Race also makes racism visible and is thus our best weapon against it.

The phrase 'War on Terror' has quietly been retired from official usage, but it persists in the American psyche, and our understanding of it is hardly complete. Exploring the role of verbal and visual images in the War on Terror, the author finds a conflict whose shaky metaphoric and imaginary conception has created its own reality.

This work, originally published in 1994, reshapes the direction of landscape studies by considering landscape not simply as an object to be seen or a text to be read, but as an instrument of cultural force, a central tool in the creation of national and social identity.

In this companion volume to "Iconology", the author investigates pictures - the concrete, representational objects in which images appear. Focusing on popular and television coverage of the Gulf War, he examines the capacity of visual images to awaken/stifle public debate, emotion and violence.

This is a book about the things people say about images. It is not primarily concerned with specific pictures and the things people say about them, but rather with the way we talk about the idea of imagery, and all its related notions of picturing, imagining, perceiving, likening, and imitating. It is a book about images, therefore, that has no illustrations except for a few schematic diagrams, a book about vision written as if by a blind author for a blind reader. If it contains any insight into real, material pictures, it is the sort that might come to a blind listener, overhearing the conversation the sighted speakers talking about images. My hypothesis is that such a listener might see patterns in these conversations that would be invisible to the sighted participant.