DOCSLIB.ORG

Staged Violence in Contemporary Art by Nicole Frances Scalissi Bachelor of Arts, University

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Staged Violence in Contemporary Art by Nicole Frances Scalissi Bachelor of Arts, University Something to See Here: Staged Violence in Contemporary Art by Nicole Frances Scalissi Bachelor of Arts, University of Pittsburgh, 2009 Master of Arts, Pennsylvania State University, 2013 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2019 UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Nicole Frances Scalissi It was defended on April 8, 2019 and approved by Jennifer Josten, Assistant Professor, History of Art and Architecture Barbara McCloskey, Professor, History of Art and Architecture Jennifer Doyle, Professor, Department of English, University of California, Riverside Dissertation Advisor: Terry Smith, Professor, History of Art and Architecture ii Copyright © by Nicole Frances Scalissi 2019 iii Something to See Here: Staged Violence in Contemporary Art Nicole Frances Scalissi, PhD University of Pittsburgh, 2019 This dissertation focuses on artists working in the United States who, during the 1970s and beyond, stage violence against women, Latinx, Afro-Latinx, and Black/African American people—marginalized identities with which the artists themselves identify. In so doing, they call attention to the prevalence of disproportionate violence committed against women and people of color in the United States at a broader societal level. I examine how women, Black/African American, Afro-Latinx, and Latinx artists perform or stage scenes of violence as a means of making visible, palpable, and inescapable the effects of the real victimization their communities disproportionately face. Through surprise encounter, reality effects, and viewer participation, artists such as Ana Mendieta, Harry Gamboa Jr., and Shaun Leonardo convey the feeling of looming violence to viewers who, by perception or statistics, feel themselves to be safely outside of threats of identity-based violence. These artists take up and re-deploy violence, often in live or embodied artworks, to counter stereotypes about their communities, challenge their own historical exclusion from mainstream art networks, and open up affective space for viewers themselves to confront the disparities of violence in the US. Throughout, I put forth a theory of Permanent-Potential-Victimhood, a traumatic identity unique to marginalized communities in the United States. I characterize this condition as a kind of future trauma, the pervasive feeling that you are never far from being victimized on the basis of your visual presentation of racial, ethnic, and/or gendered identity—actual or presumed, and over which you have no control. By implicating viewers as witnesses, perpetrators, and/or as victims in scenes of violence against iv bodies of color, these artworks activate feelings of being equally close to the type of brutality in question, as a means to impact upon the viewer-participant’s feelings about actual violence. v Table of Contents Preface ........................................................................................................................................... ix 1.0 Introduction ............................................................................................................................. 1 1.1 Notes on Context and Terms ....................................................................................... 10 1.2 Structure of the Dissertation ....................................................................................... 13 1.3 Trauma out of Time ..................................................................................................... 23 1.4 Frameworks of Ethical Looking, Affect, and Believability ...................................... 28 1.5 Conclusion ..................................................................................................................... 35 2.0 Sexualized Violence And Women: Self, Shock, Spectacle ................................................. 36 2.1 Women Urged to be Cautious: Ana Mendieta’s “Rape Scene” ............................... 42 2.1.1 Misinterpretations ............................................................................................. 44 2.1.2 Scholarship ........................................................................................................ 48 2.1.3 Permanent Potential Victimhood .................................................................... 52 2.1.4 Grievability ........................................................................................................ 56 2.1.5 Women’s Bodily Autonomy in Context........................................................... 59 2.1.6 Mendieta’s Sustained Attention to Violence Against Women ...................... 70 2.2 Violence Everywhere: Popular Visual Culture ......................................................... 75 2.3 Broader Artistic Context ............................................................................................. 83 2.4 Suzanne Lacy: Another Approach to the Public ....................................................... 96 2.4.1 Biographical Comparisons: Lacy and Mendieta .......................................... 105 2.5 Rape in the Museum in the 1980s and 1990s ........................................................... 112 2.6 Still Carrying That Weight: The Victimization of Women in the Digital Age ..... 115 vi 2.7 Conclusion: After #MeToo, What Now? .................................................................. 123 3.0 Marginalized Masculinities: Collective Trauma and Community-to-Community Address....................................................................................................................................... 130 3.1 “Think of Them as Rotting Flesh”: Resisting Latinx Stereotypes and the Consumption of the Chicanx Body in the Work of Harry Gamboa Jr. ...................... 130 3.1.1 A Note on Terminology ................................................................................... 134 3.1.2 “Me da Asco” ................................................................................................... 140 3.1.3 Origins of “Decoy Gang War Victim” .......................................................... 144 3.1.4 Performance and/in Los Angeles ................................................................... 147 3.1.5 Stereotyping and Biased News Reporting ..................................................... 148 3.1.6 Too Beautiful to be Real: Aesthetics in “Decoy Gang War Victim” .......... 151 3.1.6.1 Lure-ness and Decoy-ness ................................................................... 156 3.1.6.2 Problematic Beauty ............................................................................. 157 3.1.7 Grieving Outside the Frame ........................................................................... 159 3.1.8 “Decoy Gang War Victim” Finds New Life .................................................. 161 3.1.9 “Decoy” in Print .............................................................................................. 164 3.1.10 “Decoy” Online .............................................................................................. 169 3.1.11 Issues of Acquisition ...................................................................................... 170 3.1.12 America is (Still) Hard to See ....................................................................... 172 3.1.13 Introduction to Harry Gamboa Jr.’s Solo Career ..................................... 177 3.1.13.1 “L.A. Familia” .................................................................................... 178 3.1.13.2 “L.A. Familia” in and out of L.A. .................................................... 186 vii 3.2 “I Didn’t Think They Would Get Away With it Because it Was Televised”: The Legacy Of Rodney King, The Persistence Of Black Suffering, And Museum Responsibility .................................................................................................................... 193 3.2.1 African American Identity and the Burden of Collective Trauma ............ 197 3.2.2 “An Unmitigated Disaster:” The Whitney’s “1993 Biennial Exhibition” . 204 3.2.3 Eyewitness Video and the Failure to Testify, From Rodney King to Eric Garner ..................................................................................................................... 218 3.2.4 “The World is a Mirror of My Freedom” ..................................................... 229 3.2.5 Dramatic Erasure and Visceral Live Presence: Shaun Leonardo .............. 237 3.2.6 History Repeats in the “2017 Whitney Biennial” ......................................... 252 4.0 Epilogue ............................................................................................................................... 262 Bibliography .............................................................................................................................. 267 viii Preface I began writing this dissertation 2014, but most of my work has been in the context the heightened contestation of what it means to be American since the current president launched his campaign in 2015, promising an administration based on isolationist, nationalist, and discriminatory policies that effectively strip the rights, dignity, and safety of women, and people of color, as well as the sense of belonging and aspirational citizenship of people who have newly arrived at our southern border. Growing up in California between the
Load more

Recommended publications
  • National Arts Awards Monday, October 19, 2015
    2015 Americans for the Arts National Arts Awards Monday, October 19, 2015 Welcome from Robert L. Lynch Performance by YoungArts Alumni President and CEO of Americans for the Arts Musical Director, Jake Goldbas Philanthropy in the Arts Award Legacy Award Joan and Irwin Jacobs Maria Arena Bell Presented by Christopher Ashley Presented by Jeff Koons Outstanding Contributions to the Arts Award Young Artist Award Herbie Hancock Lady Gaga 1 Presented by Paul Simon Presented by Klaus Biesenbach Arts Education Award Carolyn Clark Powers Alice Walton Lifetime Achievement Award Presented by Agnes Gund Sophia Loren Presented by Rob Marshall Dinner Closing Remarks Remarks by Robert L. Lynch and Abel Lopez, Chair, introduction of Carolyn Clark Powers Americans for the Arts Board of Directors and Robert L. Lynch Remarks by Carolyn Clark Powers Chair, National Arts Awards Greetings from the Board Chair and President Welcome to the 2015 National Arts Awards as Americans for the Arts celebrates its 55th year of advancing the arts and arts education throughout the nation. This year marks another milestone as it is also the 50th anniversary of President Johnson’s signing of the act that created America’s two federal cultural agencies: the National Endowment for the Arts and the National Endowment for the Humanities. Americans for the Arts was there behind the scenes at the beginning and continues as the chief advocate for federal, state, and local support for the arts including the annual NEA budget. Each year with your help we make the case for the funding that fuels creativity and innovation in communities across the United States.
    [Show full text]
  • Revisiting Cyberfeminism
    AUTHOR’S COPY | AUTORENEXEMPLAR Revisiting cyberfeminism SUSANNA PAASONEN E-mail: [email protected] Abstract In the early 1990s, cyberfeminism surfaced as an arena for critical analyses of the inter-connections of gender and new technology Ϫ especially so in the context of the internet, which was then emerging as something of a “mass-medium”. Scholars, activists and artists interested in media technol- ogy and its gendered underpinnings formed networks and groups. Conse- quently, they attached altering sets of meaning to the term cyberfeminism that ranged in their take on, and identifications with feminism. Cyberfemi- nist activities began to fade in the early 2000s and the term has since been used by some as synonymous with feminist studies of new media Ϫ yet much is also lost in such a conflation. This article investigates the histories of cyberfeminism from two interconnecting perspectives. First, it addresses the meanings of the prefix “cyber” in cyberfeminism. Second, it asks what kinds of critical and analytical positions cyberfeminist networks, events, projects and publications have entailed. Through these two perspectives, the article addresses the appeal and attraction of cyberfeminism and poses some tentative explanations for its appeal fading and for cyberfeminist activities being channelled into other networks and practiced under dif- ferent names. Keywords: cyberfeminism, gender, new technology, feminism, networks Introduction Generally speaking, cyberfeminism signifies feminist appropriation of information and computer technology (ICT) on a both practical and theoretical level. Critical analysis and rethinking of gendered power rela- tions related to digital technologies has been a mission of scholars but equally Ϫ and vocally Ϫ that of artists and activists, and those working in-between and across such categorizations.
    [Show full text]
  • Attachment 1
    ATTACHMENT 1 SELECTED INDEPENDENT AND COMMISSIONED REPORTS AND COURT DECISIONS • The President’s Task Force on 21st Century Policing and Final Report of the President’s Task Force on 21st Century Policing (Washington, D.C.: Office for Community Oriented Policing Services, 2015). Synopsis and link to reports: • Widely viewed as a very significant document for law enforcement in recent years. President Obama’s charge in 2014: “examine ways of fostering strong, collaborative relationships between local law enforcement and the communities they protect and to make recommendations to the President on the ways policing practices can promote effective crime reduction while building public trust.” Report presented 156 recommendations across 6 key areas: 1) building trust and legitimacy, 2) policy and oversight, 3) technology and social media, 4) community policing and crime reduction, 5) training and education, and 6) officer wellness and safety. • http://www.cops.usdoj.gov/pdf/taskforce/TaskForce_FinalReport.pdf. • Related report: An Evidence-Assessment of the Recommendations of the President’s Task Force on 21st Century Policing — Implementation and Research Priorities. Lum, C., Koper, C.S., Gill, C., Hibdon, J., Telep, C. & Robinson, L. (2016) Fairfax, VA: Center for Evidence- Based Crime Policy, George Mason University. Alexandria, VA: International Association of Chiefs of Police. Synopsis and link to report: • Created as a research reference for agencies seeking guidance on implementation of the recommendations of the Task Force. • https://www.theiacp.org/sites/default/files/all/i- j/IACP%20GMU%20Evidence%20Assessment%20Report%20FINAL.pdf • See also the IACP’s Blueprint for 21st Century Policing: www.theiacp.org/icpr • Supreme Court of California “The Regents of the University of California v.
    [Show full text]
  • Spark Festival Uk Green Film Festival
    15 BOX OFFICE — 0116 242 2800 phoenix.org.uk MAY CINEMA / ART / CAFÉ BAR PHOENIX 8 – 14 May NEW FILMS — FAR FROM THE MADDING CROWD A GIRL WALKS HOME THIS MONTH — ALONE AT NIGHT SPARK FESTIVAL Creative fun for all the family STONES FOR THE RAMPART UK GREEN FILM FESTIVAL FORCE MAJEURE We join cinemas nationwide to celebrate environmental films SAMBA MAY AT A GLANCE FAR FROM THE MADDING CROWD P4 <MultipleINTERSECTING LINKS > <MULTIPLEINTERSECTING LINKS> Box Office242 2800 0116 — GOOD KILL P4 CHILD 44 P6 FORCE MAJEURE P5 Book Online — www.phoenix.org.uk BEVERLEY + MAKING OF DOC P5 <MultipleINTERSECTING LINKS > <MULTIPLEINTERSECTING LINKS> JOHN WICK P6 STONES FOR THE RAMPART P5 PHOENIX P6 THE VOICES P7 <MultipleINTERSECTING LINKS > <MULTIPLEINTERSECTING LINKS> THE WATER DIVINER P7 THE FALLING P10 A ROYAL NIGHT OUT P7 WOMAN IN GOLD P10 8 1/2 P10 COMING IN JUNE CLOUDS OF SILS MARIA MR HOLMES TIMBUKTU 2 – 3 DISCOVER FILM DISCOVER PHOENIX FIND WELCOME It’s Spark Festival time again! Leicester is home to the biggest children’s arts festival in the country, and at Phoenix our programme is jam–packed with digital fun for all ages. Experiment with new technologies in a short workshop; catch a family film; or create your own ‘light art’ in our Cube Gallery with Water Light Graffiti, an amazing wall embedded with thousands of LEDs that light up when you paint on it with water. A huge thank you to everyone who filled in our annual customer survey last month: we got over 950 responses. We’re currently looking through all your comments to see how we can make things better for you, and shape Phoenix’s future as we continue to adapt to pressures on public funding.
    [Show full text]
  • Alphabetical List of Catalogues Raisonnés in the Collection Of
    Alphabetical List of Catalogues Raisonnés in the Collection of Ricker Library of Art and Architecture University of Illinois at Urbana-Champaign Last updated 04/10/14 ARX = Circulating book in our stacks ARR = Non-circulating book in our Reference collection ARC = Non-circulating book held in the Closed Stacks, behind our desk ARV = Non-circulating book held in our Vault IL BACHIACCA (a.k.a. Francesco d’Ubertino Verdi, Francesco Bachiacca) LaFrance, Robert G. Bachiacca : Artist of the Medici Court. Firenze : L. S. Olschki, 2008. Q.759.5B124l (ARX) Nikolenko, Lada. Francesco Ubertini Called il Bacchiacca. Locust Valley/NY: J. J. Augustin, 1966. 759.5IL1N (STX) BACKER, JACOB van den Brink, Peter and Jaap van der Veen. Jacob Backer (1608/9-1651). Zwolle: Waanders, 2008. Text and accompanying CD-Rom available. Q.759.9492B126br (ARV) BACON, FRANCIS Alley, Ronald. Francis Bacon. New York: Viking, 1964. 759.2 B132a (ARC) BAJ, ENRICO Enrico Baj. Baj: Catalogue del’Oeuvre Graphique et des Multiples = Catalogue of the Graphic Work and Multiples. 2 volumes. Genève: Rousseau, 1973. 709.45 B167ba (ARV) BALDESSARI, JOHN Baldessari, John et al. John Baldessari: Catalogue Raisonné. New Haven: Yale University Press, 2012. Vol. One, 1956-1974 Vol. Two, 1975-1986 Q.709.73B192j (ARV) Hurowitz, Sharon Coplan. John Baldessari : A Catalogue Raisonné of Prints and Multiples, 1971-2007. Manchester : Hudson Hills Press, 2009. Q. 709.73 B192h (ARV) BALDUNG, HANS (a.k.a. Hans Baldung Grien/Grün) Mende, Matthias. Hans Baldung Grien: das Graphische Werk. Unterschneidheim: UHL, 1978. Q.769.943B19m (ARV) Alphabetical list of Catalogue Raisonnés in the Collection of the Ricker Library of Architecture and Art B:2.
    [Show full text]
  • Dear Sister Artist: Activating Feminist Art Letters and Ephemera in the Archive
    Article Dear Sister Artist: Activating Feminist Art Letters and Ephemera in the Archive Kathy Carbone ABSTRACT The 1970s Feminist Art movement continues to serve as fertile ground for contemporary feminist inquiry, knowledge sharing, and art practice. The CalArts Feminist Art Program (1971–1975) played an influential role in this movement and today, traces of the Feminist Art Program reside in the CalArts Institute Archives’ Feminist Art Materials Collection. Through a series of short interrelated archives stories, this paper explores some of the ways in which women responded to and engaged the Collection, especially a series of letters, for feminist projects at CalArts and the Women’s Art Library at Goldsmiths, University of London over the period of one year (2017–2018). The paper contemplates the archive as a conduit and locus for current day feminist identifications, meaning- making, exchange, and resistance and argues that activating and sharing—caring for—the archive’s feminist art histories is a crucial thing to be done: it is feminism-in-action that not only keeps this work on the table but it can also give strength and definition to being a feminist and an artist. Carbone, Kathy. “Dear Sister Artist,” in “Radical Empathy in Archival Practice,” eds. Elvia Arroyo- Ramirez, Jasmine Jones, Shannon O’Neill, and Holly Smith. Special issue, Journal of Critical Library and Information Studies 3. ISSN: 2572-1364 INTRODUCTION The 1970s Feminist Art movement continues to serve as fertile ground for contemporary feminist inquiry, knowledge sharing, and art practice. The California Institute of the Arts (CalArts) Feminist Art Program, which ran from 1971 through 1975, played an influential role in this movement and today, traces and remains of this pioneering program reside in the CalArts Institute Archives’ Feminist Art Materials Collection (henceforth the “Collection”).
    [Show full text]
  • Llyn Foulkes Between a Rock and a Hard Place
    LLYN FOULKES BETWEEN A ROCK AND A HARD PLACE LLYN FQULKES BETWEEN A ROCK AND A HARD PLACE Initiated and Sponsored by Fellows ol Contemporary Art Los Angeles California Organized by Laguna Art Museum Laguna Beach California Guest Curator Marilu Knode LLYN FOULKES: BETWEEN A ROCK AND A HARD PLACE This book has been published in conjunction with the exhibition Llyn Foulkes: Between a Rock and a Hard Place, curated by Marilu Knode, organized by Laguna Art Museum, Laguna Beach, California, and sponsored by Fellows of Contemporary Art, Los Angeles, California. The exhibition and book also were supported by a grant from the National Endowment for the Arts, Washington, D.C., a federal agency. TRAVEL SCHEDULE Laguna Art Museum, Laguna Beach, California 28 October 1995 - 21 January 1996 The Contemporary Art Center, Cincinnati, Ohio 3 February - 31 March 1996 The Oakland Museum, Oakland, California 19 November 1996 - 29 January 1997 Neuberger Museum, State University of New York, Purchase, New York 23 February - 20 April 1997 Palm Springs Desert Museum, Palm Springs, California 16 December 1997 - 1 March 1998 Copyright©1995, Fellows of Contemporary Art, Los Angeles All rights reserved. No part of the contents of this book may be reproduced, in whole or in part, without permission from the publisher, the Fellows of Contemporary Art. Editor: Sue Henger, Laguna Beach, California Designers: David Rose Design, Huntington Beach, California Printer: Typecraft, Inc., Pasadena, California COVER: That Old Black Magic, 1985 oil on wood 67 x 57 inches Private Collection Photo Credits (by page number): Casey Brown 55, 59; Tony Cunha 87; Sandy Darnley 17; Susan Einstein 63; William Erickson 18; M.
    [Show full text]
  • Who Ya Gonna Call? an Analysis of Paradigm Shifts and Social Harms As a Result of Hyper-Viral Police Violence
    University of Miami Race & Social Justice Law Review Volume 10 Issue 1 Article 3 Who Ya Gonna Call? An Analysis of Paradigm Shifts and Social Harms As a Result of Hyper-Viral Police Violence Ariana H. Aboulafia Follow this and additional works at: https://repository.law.miami.edu/umrsjlr Part of the Civil Rights and Discrimination Commons, Law and Race Commons, and the Law Enforcement and Corrections Commons Recommended Citation Ariana H. Aboulafia, Who Ya Gonna Call? An Analysis of Paradigm Shifts and Social Harms As a Result of Hyper-Viral Police Violence, 10 U. Miami Race & Soc. Just. L. Rev. 1 () Available at: https://repository.law.miami.edu/umrsjlr/vol10/iss1/3 This Article is brought to you for free and open access by University of Miami School of Law Institutional Repository. It has been accepted for inclusion in University of Miami Race & Social Justice Law Review by an authorized editor of University of Miami School of Law Institutional Repository. For more information, please contact [email protected]. Who Ya Gonna Call? An Analysis Of Paradigm Shifts And Social Harms As A Result Of Hyper-Viral Police Violence. Ariana H. Aboulafia* I. INTRODUCTION ................................................................................. 3 II. “FERGUSON IS EVERYWHERE” – WHY GOOD-FAITH INDIVIDUALS ARE RELUCTANT TO CALL THE POLICE ...................... 4 (1) Adding Fuel to the Fire – Enhanced Fear of Calling Police in Minorities ................................................................................. 4 (1)(a) Changes in Policing
    [Show full text]
  • Resume Di Nino Full 2020 (Pdf) Download
    lynndinino.com 2313 N 29th St .Tacoma Wa 98403 . (253) 396 0774 . [email protected] Born: Roswell, N.M. 1945 A freelance artist since 1974, I’m self-taught and completely self-supporting through private commissions, shows and galleries. My sculptural work stems from ideas or phrases, usually involving social or political observation. The excitement comes in selecting the right materials to fit the idea: maybe concrete, household objects, plastic, shredded newspaper, coffee beans – whatever will express my story in a clever way. I often use animal shapes. I sometimes combine a sober idea with humor for impact. I also have a long history of working in five dimensions: the usual three plus working with large groups of artists and presenting performance in real time, involving ideas, costumes, props, music, lights, and spoken word. GROUP SHOWS: VISUAL ART 2021 ERA Living: Sheltering in the Studio curated by June Sekiguchi, Culver House Broadview, Seattle WA 2020 note: due to COVID, many shows online only NWCraft20, juried online exhibition benefiting the Bellevue Arts Museum, Bellevue WA https://www.nwdesignercraftsmen.org/ ERA Living: Beloveds: Artist Couples curated by June Sekiguchi, Lakeshore Residence, Seattle WA https://madmimi.com/p/782c711 Icon 2020, Lynn Hanson Gallery, (also years 2017, 2018, 2019) Seattle WA http://www.lynnhansongallery.com/icon-2020.html MIND + BODY juried invitational, Port Angeles Fine Arts Center, Port Angeles, WA http://www.pafac.org/wellbeing.html 2020 SOUTHWEST JURIED EXHIBITION, Leonor Fuller Gallery, South Puget Sound College https://spscc.edu/gallery/exhibition/southwest-juried-show-2020 RECYCLED ARTS SHOW curated by Debbie Palmer, Fogue Art Gallery, Georgetown Seattle WA https://www.seattlerecycledarts.com/fogue-gallery-show REFLECTIONS Kirkland Arts Center, invitational by Donna Lindeman Porter, Kirkland WA https://my.matterport.com/show/?m=bazM3TMYvBo CURRENTS 2020, NWDC* juried membership, Schack Art Center, Everett WA.
    [Show full text]
  • Cultural Representations of the Moors Murderers and Yorkshire Ripper Cases
    CULTURAL REPRESENTATIONS OF THE MOORS MURDERERS AND YORKSHIRE RIPPER CASES by HENRIETTA PHILLIPA ANNE MALION PHILLIPS A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Modern Languages School of Languages, Cultures, Art History, and Music College of Arts and Law The University of Birmingham October 2016 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract This thesis examines written, audio-visual and musical representations of real-life British serial killers Myra Hindley and Ian Brady (the ‘Moors Murderers’) and Peter Sutcliffe (the ‘Yorkshire Ripper’), from the time of their crimes to the present day, and their proliferation beyond the cases’ immediate historical-legal context. Through the theoretical construct ‘Northientalism’ I interrogate such representations’ replication and engagement of stereotypes and anxieties accruing to the figure of the white working- class ‘Northern’ subject in these cases, within a broader context of pre-existing historical trajectories and generic conventions of Northern and true crime representation. Interrogating changing perceptions of the cultural functions and meanings of murderers in late-capitalist socio-cultural history, I argue that the underlying structure of true crime is the counterbalance between the exceptional and the everyday, in service of which its second crucial structuring technique – the depiction of physical detail – operates.
    [Show full text]
  • MUJERES INTELECTUALES Feminismos Y Liberación En América Latina Y El Caribe
    Pensamientos silenciados Colección Antologías del Pensamiento Social Latinoamericano y Caribeño MUJERES INTELECTUALES Feminismos y liberación en América Latina y el Caribe Alejandra de Santiago Guzmán Edith Caballero Borja Gabriela González Ortuño AA.VV. MUJERES INTELECTUALES Mujeres intelectuales : feminismos y liberación en América Latina y el Caribe / Mirna Paiz Cárcamo ... [et al.] ; compilado por Alejandra de Santiago Guzmán ; Edith Caballero ; Gabriela González Ortuño. - 1a ed . - Ciudad Autónoma de Buenos Aires : CLACSO, 2017. Libro digital, PDF - (Antologías del pensamiento social latinoamericano y caribeño / Gentili, Pablo) Archivo Digital: descarga y online ISBN 978-987-722-247-0 1. Mujeres. 2. Intelectuales. 3. Feminismo. I. Paiz Cárcamo, Mirna II. de San- tiago Guzmán, Alejandra, comp. III. Caballero, Edith, comp. IV. González Ortuño, Gabriela, comp. CDD 305.42 Otros descriptores asignados por CLACSO: Feminismo / Mujeres Negras / Mujeres Indígenas / Mujeres Intelectuales / Derechos Humanos / Discriminación / Cultura / Pensamiento Decolonial / Pensamiento Crítico / América Latina Colección Antologías del Pensamiento Social Latinoamericano y Caribeño Serie Pensamientos Silenciados MUJERES INTELECTUALES FEMINISMOS Y LIBERACIÓN EN AMÉRICA LATINA Y EL CARIBE Alejandra de Santiago Guzmán Edith Caballero Borja Gabriela González Ortuño (Editoras) Mirna Paiz Cárcamo Madres de Plaza de Mayo Violet Eudine Barriteau Betty Ruth Lozano Lerma Julieta Paredes Moira Millán Ochy Curiel Martha Teresita de Barbieri Natalia Quiroga Díaz Ivone
    [Show full text]
  • The Rodney King Riots
    1 Framing Perspective: How Video has Shaped Public Opinion An Honors Thesis (HONR 499) by Jason W. Puhr Thesis Advisor Terry Heifetz Signed Ball State University Muncie, Indiana May 2015 Expected Date of Graduation May 2,2015 q,pCo) J U nd Ci d h c- J-zc' -r 2 L Abstract Video cameras have come a long way since Charles Ginsburg created the first practical videotape recorder in 1951. Today millions ofAmericans live with cameras in their pockets. The growth of video has changed the communication industry into one that is shown rather than described. Video has created a direct window into the world, one that cannot be achieved equally by other communication methods and one that reaches into the hearts of its viewers. This window has shaped public opinion, as we know it, bringing images directly into the homes of millions from who knows how far away. In this thesis, I will examine major moments in U.S. history that influenced public opinion. I will explain the event itself, what was captured on camera, the effects and aftermath of the video and how the world may be different without the coverage. Acknowledgements I want to thank all the members of the Ball State faculty and staff who helped me to come up with the idea for this project, particularly Terry Heifetz and Stephanie Wiechmann. I also want to thank Terry for working and editing this project with me over the last ten months. I am very grateful to Indiana Public Radio as well, for providing a quiet and productive workspace.
    [Show full text]