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Visual culture is the aspect of culture expressed in visual images. Many academic fields study this subject, including cultural studies, art history, critical theory, philosophy, media studies, Deaf Studies, [1] and anthropology.
The field of visual culture studies in the United States corresponds or parallels the Bildwissenschaft ("image studies") in Germany. [2] Both fields are not entirely new, as they can be considered reformulations of issues of photography and film theory that had been raised from the 1920s and 1930s by authors like Béla Balázs, László Moholy-Nagy, Siegfried Kracauer and Walter Benjamin. [2]
Among theorists working within contemporary culture, this field of study often overlaps with film studies, psychoanalytic theory, sex studies, queer theory, and the study of television; it can also include video game studies, comics, traditional artistic media, advertising, the Internet, and any other medium that has a crucial visual component.
The field's versatility stems from the range of objects contained under the term "visual culture", which aggregates "visual events in which information, meaning or pleasure is sought by the consumer in an interface with visual technology". The term "visual technology" refers any media designed for purposes of perception or with the potential to augment our visual capability. [3]
Because of the changing technological aspects of visual culture as well as a scientific method-derived desire to create taxonomies or articulate what the "visual" is, many aspects of Visual Culture overlap with the study of science and technology, including hybrid electronic media, cognitive science, neurology, and image and brain theory. In an interview with the Journal of Visual Culture , academic Martin Jay explicates the rise of this tie between the visual and the technological: "Insofar as we live in a culture whose technological advances abet the production and dissemination of such images at a hitherto unimagined level, it is necessary to focus on how they work and what they do, rather than move past them too quickly to the ideas they represent or the reality they purport to depict. In so doing, we necessarily have to ask questions about ... technological mediations and extensions of visual experience." [4]
"Visual Culture" goes by a variety of names at different institutions, including Visual and Critical Studies, Visual and Cultural Studies, and Visual Studies.[ citation needed ]
In the development of Visual Studies, WJT Mitchell's text on the "Pictorial Turn" was highly influential. In analogy to the linguistic turn, Mitchell stated that we were undergoing a major paradigm shift in sciences and society which turned images, rather than verbal language, to the paradigmatic vectors of our relationship to the world. Gottfried Boehm made similar claims in the German-speaking context, when talking about an "iconic turn"., [5] as did Marshall McLuhan when speaking of television in terms of creating an "intensely visual culture" [6]
The term "Visualism" was developed by the German anthropologist Johannes Fabian to criticise the dominating role of vision in scientific discourse, through such terms as observation. He points to an under theorised approach to the use of visual representation which leads to a corpuscular theory of knowledge and information which leads to their atomisation. [7]
As visual culture studies, in the United States, have begun to address areas previously studied by art history, there have been disputes between the two fields. [2] One of the reason for controversy was that the various approaches in art history, like formalism, iconology, social history of art, or New Art History, focused only on artistic images, assuming a distinction with non-artistic ones, while in visual culture studies there is typically no such distinction. [2]
Visual culture studies may also overlap with another emerging field, that of performance studies. As "the turn from art history to visual culture studies parallels a turn from theater studies to performance studies", it is clear that the perspectival shift that both emerging fields embody is comparable. [8]
While the image remains a focal point in visual culture studies, it is the relations between images and consumers that are evaluated for their cultural significance, not just the image in and of itself. [9] Martin Jay clarifies, "Although images of all kinds have long served as illustrations of arguments made discursively, the growth of visual culture as a field has allowed them to be examined more in their own terms as complex figural artifacts or the stimulants to visual experiences." [4]
Likewise, W. J. T. Mitchell explicitly distinguishes the two fields in his claim that visual culture studies "helps us to see that even something as broad as the image does not exhaust the field of visuality; that visual studies is not the same thing as image studies, and that the study of the visual image is just one component of the larger field." [10]
Though the development of Bildwissenschaft ("image-science") in the German-speaking world to an extent paralleled that of the field of visual culture in the United Kingdom and United States, [11] Bildwissenschaft occupies a more central role in the liberal arts and humanities than that afforded to visual culture. [12] Significant differences between Bildwissenschaft and Anglophone cultural and visual studies include the former's examination of images dating from the early modern period, and its emphasis on continuities over breaks with the past. [13] Whereas Anglo-American visual studies can be seen as a continuation of critical theory in its attempt to reveal power relations, Bildwissenschaft is not explicitly political. [14] WJT Mitchell and Gottfried Boehm have had a discussion about these potential differences in an exchange of letters [15]
Early work on visual culture has been done by John Berger ( Ways of Seeing , 1972) and Laura Mulvey ( Visual Pleasure and Narrative Cinema , 1975) that follows on from Jacques Lacan's theorization of the unconscious gaze. Twentieth-century pioneers such as György Kepes and William Ivins Jr. as well as iconic phenomenologists like Maurice Merleau-Ponty also played important roles in creating a foundation for the discipline. For the history of art, Svetlana Alpers published a pioneering study on The Art of Describing: Dutch Art in the Seventeenth Century (Chicago 1983) in which she took up an earlier impulse of Michael Baxandall to study the visual culture of a whole region of early-modern Europe in all its facets: landscape painting and perception, optics and perspectival studies, geography and topographic measurements, united in a common mapping impulse.
Major works on visual culture include those by W. J. T. Mitchell, Griselda Pollock, Giuliana Bruno, Stuart Hall, Roland Barthes, Jean-François Lyotard, Rosalind Krauss, Paul Crowther and Slavoj Žižek [ citation needed ]. Continuing work has been done by Lisa Cartwright, Marita Sturken, Margaret Dikovitskaya, Nicholas Mirzoeff, Irit Rogoff and Jackie Stacey. The first book titled Visual Culture (Vizuális Kultúra) was written by Pál Miklós in 1976. [16] For history of science and technology, Klaus Hentschel has published a systematic comparative history in which various patterns of their emergence, stabilization and diffusion are identified. [17]
In the German-speaking world, analogous discussions about "Bildwissenschaft" (image studies) are conducted, a.o., by Gottfried Boehm, Hans Belting, and Horst Bredekamp. In the French-speaking world, the visual culture and the visual studies have been recently discussed, a.o., by Maxime Boidy, André Gunthert, Gil Bartholeyns.
Visual culture studies have been increasingly important in religious studies through the work of David Morgan, Sally M. Promey, Jeffrey F. Hamburger, and S. Brent Plate.
Anthropology is the scientific study of humanity, concerned with human behavior, human biology, cultures, societies, and linguistics, in both the present and past, including archaic humans. Social anthropology studies patterns of behavior, while cultural anthropology studies cultural meaning, including norms and values. The term sociocultural anthropology is commonly used today. Linguistic anthropology studies how language influences social life. Biological or physical anthropology studies the biological development of humans.
Iconology is a method of interpretation in cultural history and the history of the visual arts used by Aby Warburg, Erwin Panofsky and their followers that uncovers the cultural, social, and historical background of themes and subjects in the visual arts. Though Panofsky differentiated between iconology and iconography, the distinction is not very widely followed, "and they have never been given definitions accepted by all iconographers and iconologists". Few 21st-century authors continue to use the term "iconology" consistently, and instead use iconography to cover both areas of scholarship.
Gender studies is an interdisciplinary academic field devoted to analysing gender identity and gendered representation. Gender studies originated in the field of women's studies, concerning women, feminism, gender, and politics. The field now overlaps with queer studies and men's studies. Its rise to prominence, especially in Western universities after 1990, coincided with the rise of deconstruction.
Comics are a medium used to express ideas with images, often combined with text or other visual information. It typically takes the form of a sequence of panels of images. Textual devices such as speech balloons, captions, and onomatopoeia can indicate dialogue, narration, sound effects, or other information. There is no consensus among theorists and historians on a definition of comics; some emphasize the combination of images and text, some sequentiality or other image relations, and others historical aspects such as mass reproduction or the use of recurring characters. Cartooning and other forms of illustration are the most common means of image-making in comics. Photo comics is a form that uses photographic images. Common forms include comic strips, editorial and gag cartoons, and comic books. Since the late 20th century, bound volumes such as graphic novels, comic albums, and tankōbon have become increasingly common, along with webcomics as well as scientific/medical comics.
Visual anthropology is a subfield of social anthropology that is concerned, in part, with the study and production of ethnographic photography, film and, since the mid-1990s, new media. More recently it has been used by historians of science and visual culture. Although sometimes wrongly conflated with ethnographic film, visual anthropology encompasses much more, including the anthropological study of all visual representations such as dance and other kinds of performance, museums and archiving, all visual arts, and the production and reception of mass media. Histories and analyses of representations from many cultures are part of visual anthropology: research topics include sandpaintings, tattoos, sculptures and reliefs, cave paintings, scrimshaw, jewelry, hieroglyphics, paintings and photographs. Also within the province of the subfield are studies of human vision, properties of media, the relationship of visual form and function, and applied, collaborative uses of visual representations.
William John Thomas Mitchell is an American academic. Mitchell is the Gaylord Donnelley Distinguished Service Professor of English and Art History at the University of Chicago. He was the editor of Critical Inquiry for 42 years, from 1978 to 2020, and also contributes to the journal October.
Gottfried Boehm is a German art historian and philosopher.
Cultural nationalism is a term used by scholars of nationalism to describe efforts among intellectuals to promote the formation of national communities through emphasis on a common culture. It is contrasted with "political" nationalism, which refers to specific movements for national self-determination through the establishment of a nation-state.
Griselda Frances Sinclair Pollock is an art historian and cultural analyst of international, postcolonial feminist studies in visual arts and visual culture. Since 1977, Pollock has been an influential scholar of modern art, avant-garde art, postmodern art, and contemporary art. She is a major influence in feminist theory, feminist art history, and gender studies. She is renowned for her innovative feminist approaches to art history which aim to deconstruct the lack of appreciation and importance of women in art as other than objects for the male gaze.
George Sebastian Rousseau is an American cultural historian resident in the United Kingdom.
Culture is a concept that encompasses the social behavior, institutions, and norms found in human societies, as well as the knowledge, beliefs, arts, laws, customs, capabilities, attitude, and habits of the individuals in these groups. Culture is often originated from or attributed to a specific region or location.
Hans Belting was a German art historian and media theorist with a focus on image science, and this with regard to contemporary art and to the Italian art of the Middle Ages and the Renaissance.
Art history is, briefly, the history of art—or the study of a specific type of objects created in the past.
Horst Bredekamp is a German art historian and visual historian.
Maria Gertrudis "Mieke" Bal is a Dutch cultural theorist, video artist, and Professor Emerita in Literary Theory at the University of Amsterdam. Previously, she was also Academy Professor of the Royal Netherlands Academy of Arts and Sciences and co-founder of the Amsterdam School for Cultural Analysis at the University of Amsterdam.
David Morgan is Professor of Religious Studies at Duke University, in Durham, North Carolina, with an additional appointment in Duke's Department of Art, Art History and Visual Studies. Morgan served as the Chair in the Department of Religious Studies in Trinity College of Duke University from 2013 to 2016. He is the author of numerous books, including The Forge of Vision (2015), The Embodied Eye (2012), and The Sacred Gaze (2005).
Klaus Hentschel is a German physicist, historian of science and professor. He is the head of the University of Stuttgart's History of Science and Technology section of its History department.
In cinema, a trope is what The Art Direction Handbook for Film defines as "a universally identified image imbued with several layers of contextual meaning creating a new visual metaphor".
Hilary Robinson is a British academic and art theorist. She was granted the 2024 annual Award for Distinction in Femininst Art History by the College Art Association. She is Professor of Feminism, Art, and Theory at Loughborough University's School of Social Sciences and Humanities. She was Dean of the School of Art and Design and a professor at Middlesex University, and previously served as Dean of the College of Fine Arts at Carnegie Mellon University. Her research focuses on the history, theory, and practice of feminist art.
Bildwissenschaft is an academic discipline in the German-speaking world. Similar to visual studies, and defined in relation to art history, Bildwissenschaft refers to a number of different approaches to images, their interpretation and their social significance.
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