Violent Image Research Articles

Research on the Style Characteristics of Network Hosts

There is a distinct difference between the network host style and the traditional host style. Wang Nima, as the "most positive host of three views of speech", is very successful in thinking from the perspective of social psychology. Wang Nima has become one of the symbols of the violent image subculture group through the styles of hiding identity, symbolized cartoon image, symbolized audio language and paralanguage expression, phonetic vocabulary grammar deviation and so on. The use of Wang Nima's image can better stimulate the audience to communicate and deliver the program. At the same time, the youth subculture audience speaks and spits with "opinion leaders" such as Wang Nima, and "opinion leaders" such as Wang Nima become spokespersons with obvious group characteristics. However, its disadvantage is that it can influence the public opinion trend of news on the Internet, and further interfere with the consciousness of individual thinking in the group.

Structural Film, Mondo New Hollywood, and the Violent Image: A Discussion with Sheldon Renan

Structural Film, Mondo New Hollywood, and the Violent Image: A Discussion with Sheldon Renan

Gangster or social bandit?

In Indonesia, following post-1998 government reforms, a specific strain of activism has developed that sees typical NGO subjects, such as indigenous rights and land rights of the poor, championed by groups that have a decidedly more violent image than NGOs do. Usually registered as ormas, or mass organizations, these groups combine a repertoire of democracy and social responsibility with established cultural notions of “strong men” who defend their community and engage in crime on the side. This mix is a potent concoction that allows a skilled ormas leader (who is nearly always male) to take diverse roles and refer to multiple sources of legitimization for his actions, depending on his position in local society. This brief ethnographic vignette describes the rise, some actions, and eventual demise of Bahrudin, an ormas leader in Paser, in the province of East Kalimantan.

Black and White in Black and White: Branden Jacobs-Jenkins’s Sensation Scene in An Octoroon

An Octoroon, Branden Jacobs-Jenkins’s 2014 answer to Boucicault’s 1859 melodrama The Octoroon, reveals a fascination with the dramaturgical and affective mechanics of the “Sensation Scene.” An Octoroon includes two sensation scenes: a lynching photograph projected onto the back wall, and the sensory overwhelm of the back wall dropping, projecting hundreds of cotton balls onstage into the audience. The device invites contemplation of the violent image—its problematic status as both record and artwork in interpolation of the viewer. The two scenes combine to generate a Brechtian meta-melodrama that not only crystallizes, as in the traditional melodrama, the “message” of the play, but forces contemplation of our affective response to racist violence.

“A Made Up Thing” Full of Depth: The Queer Belonging of Robert Duncan and New Narrative

This essay argues that Robert Duncan’s conception of his poet self as “a made up thing and at the same time a depth in which my being is” from The Years as Catches links his poetics to his sexuality and that Duncan, at the center of the San Francisco Bay Area “poetry wars,” becomes a source of grand permission in “queer belonging” for New Narrative writers, specifically Robert Glück and Bruce Boone. New Narrative writers turned from the mainstream’s devastating and violent image of gays and lesbians and the Language writers’ desire to jettison the subject from their own writing to Duncan and Jess [Collins] for the power and pleasures of the made up, fragmented, collaged – a material based relational art, a set of practices, performing queer belonging that looks back in order to move forward, that articulates “the history of our times” and the possibility of a future.

Death on repeat

In the past decade, images of fatal police shootings shared on social media have inspired protests against militarised policing policies and re-defined the ways marginalised communities seek justice. This article theorises the repetition of violent images and discusses how social media has become an important tool for localising popular critiques of the law. I provide an ethnographic account of a police shooting in a Brazilian favela (shantytown). I am particularly interested in how residents of the favela interpret law and justice in relationship to contemporaneous movements such as Black Lives Matter. Reflecting Walter Benjamin’s concept of mechanical reproduction, this case study demonstrates an ‘aura’ that is shaped by the social and legal context in which a violent image is produced, consumed and aggregated. This case study suggests the possibility for research examining the ways inclusionary social media platforms are increasingly co-opted by oppressive political institutions.

The Effects of Violent Image, Assertive Message,and Attitude toward Combative Sports

The Effects of Violent Image, Assertive Message,and Attitude toward Combative Sports

A MÍDIA IMPRESSA E O POLO AQUÁTICO BRASILEIRO: O MITO DE ALADAR SZABO

Este artigo objetiva analisar a visão da mídia impressa sobre um jogador de polo aquático brasileiro, o húngaro naturalizado Aladar Szabo, e também sobre o polo aquático nos anos 1960. Buscamos identificar como os relatos midiáticos contribuíram para a consolidação da imagem do jogador-mito, como eram relatados os acontecimentos sobre o esporte e ainda de que forma a mídia impressa participou da construção de sua imagem e sua relação com o mito da masculinidade. Metodologicamente, combinamos pesquisa documental e bibliográfica. Verificou-se construção de uma imagem violenta do esporte, aproximando as atitudes e fatos do jogador com o mito da masculinidade.

The violent image: Insurgent propaganda and the new revolutionaries

The violent image: Insurgent propaganda and the new revolutionaries

Fractured compounds: photographing post-apartheid compounds and hostels

Hostels and compounds have held a compelling fascination for South African photographers over many decades, from the colonial to the post-apartheid era. The photographic representations of these spartan barracks have permeated the narrative of South Africa as the photographers showed the lives, recreations and living conditions, the institutionalised, alienating nature of the environment, its dehumanising conditions, and the cultural and geographical schizophrenia experienced by the migrant labourer navigating the urban/rural divide. In the last two decades, the monolithic structure of the hostel compound has become fractured, as aspects of this environment have altered due to changes in the political, social and economic landscape of South Africa. But it is not just the hostel that has changed, post-apartheid: the photographic representations have transformed too. These adjustments include: a shift from black and white to colour; an increased reluctance to present the hostel dweller as victim; decreased prominence of exposé; a more optimistic and less violent image of the hostels; essays which highlight the permanence of the hostel dweller; a trend which puts less emphasis on the hostel dweller and more on his or her environment; and new narratives around gender, sexuality and individuality have emerged. As a result of the use of colour, the display of these works in commercial art galleries and the decline of the human figure in the picture, the works are arguably less political. It is the complex nature of these shifts in post-apartheid hostel imagery that will be investigated in this paper, with specific reference to the work of Peter Magubane, T.J. Lemon, Sabelo Mlangeni, Angela Buckland, Jodi Bieber, David Goldblatt, Zwelethu Mthethwa and Sam Nhlengethwa.

패션 일러스트레이션에 나타난 얼굴해체 - 프란시스 베이컨 회화의 얼굴해체를 바탕으로 -

This study analyzes the visage in fashion illustration based on the deconstructed visage of Francis Bacon's paintings as well as analyzes fashion illustration works since 2000. The deconstructed visages in Francis Bacon's paintings are classified as blurring, elimination, distortion and division. The expressive methods and meanings in fashion illustration (according to categorization) are as follow. Blurring shows an ambiguous visage organ by the sweeping of the brush, removal of a boundary among the visage, body and clothes, gradation of organic line like visage shapes, stretching of the a plat combined to visage and fragmentation of visage. It represents an uncertainty of the fashion theme and image interpretation, impossibility of figure by ambiguity, fantastic effect and the induction of the uncanny. Elimination shows the background color's painting of a photo-montage, overlap of a cutting of visage's part and background of a plat, elimination of the visage and the elimination of eyes, nose or lips. It represents a weakened identity, the reinforcement of anonymity, creation of a violent image, and uncanny unfamiliarity. Distortion shows a distorted visage by free drawing, and unconscious drawing line, fluid digital body, combination of an unconscious curve, and an eccentric combination of the accidental. It represents the relief of specialty about realistic existence, hypothetical immateriality and fantasy. Division shows overlapped visages with different angles, the weird combination of a plural visage and different species and a plural breakaway of direction, and the position of several organs. It represents motion by power's trace, non-territory of species, ambiguity and uncertainty and the uncanny.

Offensiveness of Advertising with Violent Image Appeal: A Cross-Cultural Study

Violent images are often used in advertisements to gain attention and sell products, resulting in complaints to regulatory bodies and concern regarding the effects of these potentially offensive advertisements on society. This paper presents the results of a survey of 930 university students from six countries to determine which personal and attitudinal variables have a significant influence on their attitudes toward advertisements with violent images. The results indicate that gender, country, intensity of religious beliefs, economic inclination, and products (social/political groups) produced the strongest reaction. These factors should be considered when advertisers run local or global campaigns with violent images.

Book review: Neville Bolt, The violent image: Insurgent propaganda and the new revolutionaries

Book review: Neville Bolt, <i>The violent image: Insurgent propaganda and the new revolutionaries</i>

The violent image: insurgent propaganda and the new revolutionaries

Fast-moving, self-perpetuating images of violence have radically changed the nature of insurgency in modern times, and the global media trafficking in these images have fundamentally transformed the act and speed of the exchange among populations. First satellite TV, then laptops and the Internet, and now cellphones and social media, new technologies have revolutionized the act of communication and have collapsed the impediments of time and distance. Rebels who hope to overthrow states and revolutionaries who aim to establish transnational, ideological communities have only to utilize these dynamic technologies to advance their goals. Yet trial and error has also taught a key lesson: in a visual world, the pull of the violent image is more powerful and resonant than the draw of the carefully-crafted word. Neville Bolt dives headfirst into the innovative strategies of today's revolutionaries and their fascinating appropriation of the nineteenth-century practice of propaganda of the deed, or the political act of violence. No longer is the terrorist act simply a means to push governments to overreact, therefore shredding their legitimacy and credibility. The deed has instead become an efficient tool to initiate a campaign of shock and awe, exposing and exploiting the grievances that underlie communities' fragile ties. Images of 9/11, 7/7, Abu Ghraib, and collateral damage are the contemporary weapons of choice. The Violent Image explores the emotional and psychological components of this visual moment of shock, or the binding of emotive pictures to messages causing popular uprisings. From terrorist groups such as the Fenians and the Taliban to the architects of the ongoing Arab Spring, this study follows insurgents and their manipulation of violent imagery to build narratives and bring social change. Taking advantage of the war of ideas, new revolutionaries generate surges of support that spread virally through global networks, often so quickly that states are unable to respond in time and kind. This book ultimately asks whether the world has reached a point in which insurgents and populations are driving images and ideas so rapidly that we are already in the grip of a new era of revolutionary politics.

Violence as Propaganda

Neville Bolt's The Violent Image is an outstanding contribution to the literature on how parties use violence for political ends, and the strategic implications of such action.

‘Hosting the world’

Using the 2010 FIFA World Cup in South Africa as a case study, this paper will explore how security measures for sports mega-events have been steadily militarized with policing operations comparable to war planning. It will be argued that this is representative of the ‘new military urbanism’ in which everyday urban life is rendered as a site of ubiquitous risk leading to the increased diffusion of military tactics and doctrines in policing and policy. While the interpenetration between urbanism and militarism has often been studied against the context of the War on Terror, the paper will argue that in the case of South Africa this has primarily been accelerated by a pervasive social fear of violent crime, which has resulted in the securitization of cities, the remilitarization of policing and the intensification of a historical legacy of socio-spatial inequalities. The South African government used the World Cup to ‘rebrand’ the country's violent international image, while promising that security measures would leave a legacy of safer cities for ordinary South Africans. However, using military urbanism as a conceptual backdrop, the case studies presented in the second part of the paper argue that policing measures were primarily cosmetic and designed to allay the fears of foreign tourists and the national middle class. In practice, security measures pivoted around the enforcement of social control and urban marginalization while serving as a training ground for an increasingly repressive state security apparatus. The paper will conclude with a discussion of how the global crossover between militarism and urbanism threatens to stimulate and rehabilitate deeply entrenched authoritarian tendencies in South Africa.

Violent transfusions: strategies of and against immunity in contemporary Brazilian cinema

Violence, in films, is often generated by an ‘immunizing’ logic, which according to Roberto Esposito, is typical of contemporary societies. Esposito says that the immunizing logic can be seen in State institution, laws, territorial organization or ethnic communities identified by a common element (language, religion, culture). These groups tend to shut out, immunizing against the ‘outside’ world. The films respond to the violent exclusion with a ‘violent image’ (not an ‘image of violence’, an image that presents itself as a correction of the world), a kind of violence that is a refusal of excluding violence. This ‘violent image’ is a line of flight that traverses many segments ‘immunized’ against what is ‘strange’ and ‘foreigner’, reestablishing the transit. This article questions how cinematographic discourse creates violent situations where spectators are challenged to face their own auto-immunization and called toreestablish the flux of violent images which are, above all, irradiation, explosion, contamination.

French Officers, African Officers, and the Violent Image of African Colonial Soldiers

French Officers, African Officers, and the Violent Image of African Colonial Soldiers

The Historiography of the Black Panther Party

This article examines forty years of historical writing on the Black Panther Party (BPP), arguing that this historiography has now reached maturity. It evaluates key publications on the BPP, splitting the historiography into three periods. The first phase, the article asserts, was dominated by accounts written by participants and observers of the BPP in action. These offered insight into the personalities of the BPP leadership but included relatively little on other BPP members. They were supplemented by a collection of friendly academic studies, a number of which emphasized the role of the FBI in precipitating the BPP's decline. The article identifies the 1994 publication of Hugh Pearson's biographical study of Huey P. Newton as the beginning of a second phase. Pearson's work, which built on a collection of accounts written by observers and right-wing writers during the first phase, precipitated an outpouring of new studies that opposed its conclusions. These works overwhelmingly focussed on individual BPP chapters and the experiences of the BPP rank and file; they were generally friendly towards the party and often appraised the BPP's actions through the 1970s. A second wave of participant accounts also emerged in this period which offered a more personal interpretation of the BPP's decline. A third period emerged in the early 2000s that abandoned the obsession with Pearson's study and focussed instead on the BPP's contribution to African American and American culture beyond its political program and violent image. The article reveals the paradox at the heart of the local approach, one which recent studies addressed in their focus on the BPP's Oakland chapter and their return to a tight chronological approach that focussed on the BPP's peak years. It concludes by noting the remaining omissions in the BPP's historical record and anticipating further studies.

Against Photography Susan Sontag and the Violent Image

Essay| June 01 2004 Against Photography Susan Sontag and the Violent Image Sue Sorensen Sue Sorensen Sue Sorensen is a member of the Department of English at the University of Winnipeg in Canada and is also a member of Amnesty International. Search for other works by this author on: This Site PubMed Google Scholar Afterimage (2004) 31 (6): 16–17. https://doi.org/10.1525/aft.2004.31.6.16 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Sue Sorensen; Against Photography Susan Sontag and the Violent Image. Afterimage 1 June 2004; 31 (6): 16–17. doi: https://doi.org/10.1525/aft.2004.31.6.16 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAfterimage Search This content is only available via PDF. © 2004 by The Regents of the University of California2004 Article PDF first page preview Close Modal You do not currently have access to this content.