IMAGE 25 (Ausgabe Januar 2017) 

Erscheinungsdatum:
  22.01.2017

Inhalte:  

  • Anne Burkhardt/Klaus Sachs-Hombach: Einleitung

  • Susana Barreiro Pérez/Marcel Wolfgang Lemmes/Stephan Ueffing: Warlords and Presidents. Eine Analyse visueller Diskurse in The Situation Room

  • Jens Amschlinger/Lukas Flad/Jessica Sautter: »I saw something white being grabbed«.Sexuelle Gewalt in V-J Day in Times Square

  • Konrad Steuer/Michael Götting: Grausame Bilder. Ein Experiment zur emotionalen Wirkung expliziter Gewaltdarstellungen am Beispiel einer Kriegsfotografie von Christoph Bangert

  • Franz Reitinger: Gleich groß oder kleiner? Vom Vorwurf des Eurozentrismus

  • Das bildphilosophische Stichwort: Vorbemerkung

  • Dimitri Liebsch: Das bildphilosophische Stichwort 13. Visual Culture/Visual Studies

  • Jens Bonnemann: Das bildphilosophische Stichwort 14. Bildbewusstsein

  • Jens Schröter: Das bildphilosophische Stichwort 15. Digitales Bild

  • Impressum

Artikel:  

Einleitung
 
Autoren: Anne Burkhardt, Klaus Sachs-Hombach
 
[Thema des Artikels]
 
 

Warlords and Presidents. Eine Analyse visueller Diskurse in The Situation Room
 
Autoren: Susana Barreiro Pérez, Marcel Wolfgang Lemmes, Stephan Ueffing
 
This article analyses the way politics and the military are interconnected in contemporary political discourse by means of the popular photography The Situation Room. By doing so, the interdependency of ›9/11‹, the ›war on terror‹, and US American politics will be carved out. Furthermore, the iconological characteristics of the photography will be proven to be an important tes-timonial of contemporary history. Based on the theoretical concepts of the ›Feldherrenblick‹ and the ›actuarial gaze‹, our analysis supports the thesis that the strategic communication of the Obama administration aims for the creation or rather the maintenance of a ›threat society‹.
 
 

»I saw something white being grabbed«.Sexuelle Gewalt in V-J Day in Times Square
 
Autoren: Jens Amschlinger, Lukas Flad, Jessica Sautter
 
The photograph V-J Day in Times Square by Alfred Eisenstaedt is a symbol of the end of the Second World War for many people. This paper tries to prove that the reception of the picture lacks a critical reflection despite cognizable indications of sexual violence. To get a better understanding of the signifi-cance and the meaning of the photograph the first step will be a recapitulation of the conditions of the origin. The following analysis takes place within the framework of the visual semiotic according to Roland Barthes and bridges to a more precise explanation of the term ›Rape Culture‹ and the meaning of it in the context of Eisenstaedt’s photograph. The following critique of the previous reception of the photograph exhorts to a critical distance to both, the photograph and the presented situation. Overall this paper will try to constitute the thesis that V-J Day in Times Square depicts an act of sexual violence within a ›Rape Culture‹.
 
 

Grausame Bilder. Ein Experiment zur emotionalen Wirkung expliziter Gewaltdarstellungen am Beispiel einer Kriegsfotografie von Christoph Bangert
 
Autoren: Michael Götting, Konrad Steuer
 
Today, one is exposed to violent content on a daily basis, but when it comes to harsh war photography, media content is censored due to moral aspects or because it is just ›too heavy‹. However, some photographers or artists argue that society should be exposed to such photographs in order to feel real empathy for people suffering from the injustice of war. This study is aiming to examine the effects of explicit portrayal of violence on people’s emotions within an experiment. What makes a picture gruesome? What exactly is it that makes people cringe when they see violent footage? Does this reaction differ due to different people’s perspectives (e.g., when people enjoy violent games or films and are, thus, exposed to violent content more frequently)? Using footage from photographer Christoph Bangert’s series of photography War Porn, this study investigates, whether the exposure to violent content differs between different groups and which particular part of a violent picture triggers negative feelings, by using a photoshopped picture and an original picture that shows a beheaded man in the Iraq war in 2005. Findings show that there is a slight difference between the group that is used to violence exposure and the one that is not. The study generates new research questions that would further examine the connections between explicit footage and people’s emotions.
 
 

Gleich groß oder kleiner? Vom Vorwurf des Eurozentrismus
 
Autor: Franz Reitinger
 
[Thema des Artikels]
 
 

Das bildphilosophische Stichwort. Vorbemerkung
 
Autoren: [keine]
 
[Thema des Artikels]
 
 

Das bildphilosophische Stichwort 13. Visual Culture/Visual Studies
 
Autor: Dimitri Liebsch
 
[Thema des Artikels]
 
 

Das bildphilosophische Stichwort 14. Bildbewusstsein
 
Autor: Jens Bonnemann
 
[Thema des Artikels]
 
 

Das bildphilosophische Stichwort 15. Digitales Bild
 
Autor: Jens Schröter
 
[Thema des Artikels]
 
 

Impressum
 
Autoren: [keine]
 
[Thema des Artikels]