"Photography is often believed to witness history or reflect society, but such perspectives fail to account for the complex ways in which photographs get made and seen, and the variety of motivations and social and political factors that shape the vision of the world that photographs provide. This book develops a critical historical method for engaging with photographers to try and understand how they viewed the work they were doing, and examines the place of photography in a post-apartheid era. Based on interviews with photographers, editors and curators, and through the analysis of photographs held in collections and displayed in museums, this research addresses the significance of photography in South Africa during the second half of the twentieth century"--Cover

Explores intervisual case studies in relation to migration, xenophobia, and gender. Affective Images examines both canonical and lesser-known photographs and films that address the struggle against apartheid and the new struggles that came into being in post-apartheid times. Marietta Kesting argues for a way of embodied seeing and complements this with feminist and queer film studies, history of photography, media theory, and cultural studies. Featuring in-depth discussions of photographs, films, and other visual documents, Kesting then situates them in broader historical contexts, such as cultural history and the history of black subjectivity and revolves the images around the intersection of race and gender. In its interdisciplinary approach, this book explores the recurrence of affective images of the past in a different way, including flashbacks, trauma, “white noise,” and the return of the repressed. It draws its materials from photographers, filmmakers, and artists such as Ernest Cole, Simphiwe Nkwali, Terry Kurgan, Thenjiwe Niki Nkosi, Adze Ugah, and the Center for Historical Reenactments. “In its focus on lens-based media, the book not only tackles some of the questions around the visuality of migration and xenophobia, but also does so using the media (photography and film) that are probably the most complicit in the visual witnessing and translation within this field.” — Rory Bester, coeditor of Rise and Fall of Apartheid: Photography and the Bureaucracy of Everyday Life

As the fight for equal rights continues, Defiant takes a critical look at the strides and struggles of the past in this revelatory and moving memoir about a young Black man growing up in the South during the heart of the Civil Rights Movement. For fans of It's Trevor Noah: Born a Crime, Stamped, and Brown Girl Dreaming. "With his compelling memoir, Hudson will inspire young readers to emulate his ideals and accomplishments.” –Booklist, Starred Review Born in 1946 in Mansfield, Louisiana, Wade Hudson came of age against the backdrop of the Civil Rights Movement. From their home on Mary Street, his close-knit family watched as the country grappled with desegregation, as the Klan targeted the Sixteenth Street Baptist Church in Birmingham, Alabama, and as systemic racism struck across the nation and in their hometown. Amidst it all, Wade was growing up. Getting into scuffles, playing baseball, immersing himself in his church community, and starting to write. Most important, Wade learned how to find his voice and use it. From his family, his community, and his college classmates, Wade learned the importance of fighting for change by confronting the laws and customs that marginalized and demeaned people. This powerful memoir reveals the struggles, joys, love, and ongoing resilience that it took to grow up Black in segregated America, and the lessons that carry over to our fight for a better future.

Powerful and often controversial, news pictures promise to make the world at once immediate and knowable. Yet while many great writers and thinkers have evaluated photographs of atrocity and crisis, few have sought to set these images in a broader context by defining the rich and diverse history of news pictures in their many forms. For the first time, this volume defines what counts as a news picture, how pictures are selected and distributed, where they are seen and how we critique and value them. Presenting the best new thinking on this fascinating topic, this book considers the news picture over time, from the dawn of the illustrated press in the nineteenth century, through photojournalism’s heyday and the rise of broadcast news and newsreels in the twentieth century and into today’s digital platforms. It examines the many kinds of images: sport, fashion, society, celebrity, war, catastrophe and exoticism; and many mediums, including photography, painting, wood engraving, film and video. Packed with the best research and full colour-illustrations throughout, this book will appeal to students and readers interested in how news and history are key sources of our rich visual culture.

Just what is a picture worth? Qualitative research is dominated by language. However, researchers have recently shown a growing interest in adopting an image-based approach. This is the first volume dedicated to exploring this approach and will prove an invaluable sourcebook for researchers in the field. The book covers a broad scope, including theory and the research process; and provides practical examples of how image-based research is applied in the field. It discusses use of images in child abuse investigation; exploring children's drawings in health education; cartoons; the media and teachers.

In Landscapes Between Then and Now, Nicola Brandt examines the increasingly compelling and diverse cross-disciplinary work of photographers and artists made during the transition from apartheid to post-apartheid and into the contemporary era. By examining specific artworks made in South Africa, Namibia and Angola, Brandt sheds light on established and emerging themes related to aftermath landscapes, embodied histories, (un)belonging, spirituality and memorialization. She shows how landscape and identity are mutually constituted, and profiles this process against the background of the legacy of the acutely racially divisive policies of the apartheid regime that are still reflected on the land. As a signpost throughout the book, Brandt draws on the work of the renowned South African photographer Santu Mofokeng and his critical thinking about landscape. Landscapes Between Then and Now explores how practitioners who engage with identity and their physical environment as a social product might reveal something about the complex and fractured nature of postcolonial and contemporary societies. Through diverse strategies and aesthetics, they comment on inherent structures and epistemologies of power whilst also expressing new and radical forms of self-determinism. Brandt asks why these cross-disciplinary works ranging from social documentary to experimental performance and embodied practices are critical now, and what important possibilities for social and political reflection and engagement they suggest.

This book explores issues of creation, distribution, and control of images through official and unofficial sources, asking what impact that has had on human rights and what the ethical implications are. The volume includes research from healthcare advocates, human rights scholars and activists, photographers, and visual anthropologists who see a need for more careful contextual interpretation of images in global and local settings. It represents diverse forms of scholarship and the ever-changing field of research methodologies, and it examines how human rights issues take advantage of visual methodologies and how the visual works to communicate these issues with the public. As such, this collection will be useful for researchers studying in the fields of visual culture and human rights.