Affective images: post-apartheid documentary perspectives
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Abschlussarbeit Buch |
| Sprache: | English |
| Veröffentlicht: |
Albany
SUNY Press
[2017]
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| Schlagworte: | |
| Online-Zugang: | Rezension Inhaltsverzeichnis Rezension |
| Beschreibung: | Includes bibliographical references and index. - Includes filmography |
| Beschreibung: | XIV, 278 Seiten Illustrationen |
| ISBN: | 9781438467856 9781438467849 |
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| 245 | 1 | 0 | |a Affective images |b post-apartheid documentary perspectives |c Marietta Kesting |
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Datensatz im Suchindex
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AFFECTIVE IMAGES
/ KESTING, MARIETTAYYEAUTHOR
: 2017
TABLE OF CONTENTS / INHALTSVERZEICHNIS
INTRODUCTION
MAPPING CONTEXT AND PLACE
AFFECTIVE IMAGES. PHOTOGRAPHS OF BLACK SUFFERING AND VIOLENCE
AFFECTIVE IMAGES IN THE "NEW" SOUTH AFRICA
BURNING QUESTIONS. THE "BURNING MAN"
THE AFTERLIFE OF NHAMUAVE'S PHOTOGRAPH
PHOTOGRAPHIC SPEECH ACTS. MIGRANT LIFE AND THE IMAGE
DOCUMENTARY PARTICIPATORY PHOTOGRAPHY AND POLITICS
IN/VISIBILITIES AND REENACTMENTS. DE-IDENTIFICATION AND MULTIPLICATION.
FROM DOCUMENTARY TO FICTION AND BACK: DISTRICT 9
CONCLUSION: AFFECTIVE IMAGES OF BELONGING
DIESES SCHRIFTSTUECK WURDE MASCHINELL ERZEUGT.
SEHEPUNKTE 19 (2019), NR. 4
MARIETTA KESTING: AFFECTIVE IMAGES
IN 2008, SOUTH AFRICA EXPERIENCED A NUMBER OF EXTREMELY VIOLENT
XENOPHOBIC ATTACKS. DISSATISFACTION AMONG BLACK
COMMUNITIES ABOUT THE FAILING OF THE SO-CALLED 'RAINBOW NATION' AND THE
HERETO LINKED PROMISES OF (ECONOMIC) EQUALITY,
WHICH HAD BEEN PRONOUNCED IN 1994, TURNED INTO HATRED AND AGGRESSION
AGAINST (MOSTLY BLACK) PEOPLE, WHO WERE
PERCEIVED AS FOREIGNERS. WHEN MOZAMBICAN IMMIGRANT ERNEST NHAMUAVE WAS
SET ON FIRE ALIVE, PHOTOGRAPHER SIMPHIWE
NKWALI CAPTURED THE VIOLENT INCIDENCE IN THE ICONIC PHOTOGRAPH THE
BURNING MAN. MARIETTA KESTING CENTRES HER BOOK
AFFECTIVE IMAGES. POST-APARTHEID DOCUMENTARY PERSPECTIVES AROUND THESE
XENOPHOBIC ASSAULTS BECAUSE, AS SHE ARGUES,
THEY MARKED A "CAESURA" IN SOUTH AFRICA'S VISUAL CULTURE PROVOKING A
PLETHORA OF NEW DOCUMENTARY IMAGERY (7/82).
KESTING STRUCTURES THE BOOK, THAT IS A REWORKED VERSION OF HER
DISSERTATION, INTO SIX CHAPTERS, WHICH ARE PRECEDED BY AN
INTRODUCTION. HERE THE AUTHOR ASSIGNS THE FIELD OF COORDINATES IN WHICH
TO EMBED THE ANALYSES OF BOTH FILM AND
PHOTOGRAPHIC DOCUMENTARY IMAGES DATING TO THE APARTHEID ERA AS WELL AS
TO THE POST-1994 PERIOD. TAKING AN
INTERDISCIPLINARY APPROACH - INCLUDING INTER ALIA PHILOSOPHY, MEDIA
STUDIES, VISUAL CULTURE STUDIES, GENDER THEORY - THIS
FIELD SPANS BETWEEN POLITICS OR THE POLITICAL, VIOLENCE, MIGRATION AND
AFFECT. ESPECIALLY THE NOTION OF AFFECT, SERVES
KESTING TO CORRELATE APPARENTLY DISPARATE IMAGES, SINCE, AS SHE ARGUES,
DOCUMENTARY IMAGES TRANSMIT AFFECT, CAUSING
RE/ACTIONS, WHICH EVENTUALLY RESULT IN A "CHAIN OF AFFECT" (11).
AGAINST THIS THEORETICAL BACKGROUND, KESTING THEREFORE STARTS TO MAP OUT
DIFFERENT VISUAL ARTICULATIONS OF BOTH BLACK
AND WHITE MIGRATION TO AND IN SOUTH AFRICA (CHAPTER 1). SHE POINTS TO
THE VISUALISATIONS OF THE SO-CALLED GREAT TREK OF
AFRIKANERS TO THE HINTERLAND OR THE MIGRATION OF AFRICANS FROM RURAL TO
URBAN AREAS, WHICH, FOR INSTANCE, THE
DOCUMENTARY-FICTION FILM COME BACK, AFRICA (1959) FOCUSES ON. BY
DISCUSSING THESE EXAMPLES, KESTING DISCLOSES THE
RACIST STRUCTURES THAT INFORMED THESE MOVEMENTS AND PREPARES THE GROUND
FOR READING THE FOLLOWING EXAMPLES OF
DOCUMENTARY IMAGES.
KESTING EXAMINES THE POSSIBLE AFFECTIVE RESPONSES TO BOTH IMAGES OF
VIOLENCE OR PAIN DATING TO THE APARTHEID ERA AS
WELL AS TO IMAGES OF TEARS FROM THE NEW SOUTH AFRICA (CHAPTER 2). FROM
EXPLICITLY VIOLENT IMAGES, SUCH AS SAM NZIMA'S
WIDELY KNOWN PHOTOGRAPH OF HECTOR PIETERSON, WHO WAS KILLED DURING THE
SOWETO STUDENT UPRISING IN 1976, OR PICTURES
BY THE BANG-BANG CLUB OF VIOLENT CLASHES IN THE TOWNSHIPS IN THE 1990S,
KESTING MOVES ON TO IMAGES IN WHICH TEARS ARE
USED TO SYMBOLISE A PASSED VIOLENT ACT - FOR INSTANCE RAPE - WHICH WAS
NOT PICTURED. DRAWING CLOSELY ON KYLIE THOMAS'
CONCEPT OF PHOTOGRAPHS AS "WOUNDING APERTURES" (39) AND FOLLOWING
GAYATRI CHAKRAVORTY SPIVAK'S NOTION OF THE
"ENABLING WOUND", KESTING ARGUES FOR DOCUMENTARY IMAGES OF VIOLENCE TO
HAVE AN "AFFECTIVE EXCESS" AND TO ACT AS
"ENABLING WOUNDS" CAUSING POLITICAL EFFECT.
THE OUTLINING OF THE NATION-BUILDING DISCOURSE THAT HAS EVOLVED AFTER
1994 AND THE POINTING TO THE FAILURE OF THE
RAINBOW NATION PROVIDES KESTING THE HISTORIC-POLITICAL BACKDROP AGAINST
WHICH TO ANALYSE THE PHOTOGRAPH OF THE
BURNING MAN AND MAKES EVIDENT WHY SHE UNDERSTANDS IT AS A CAESURA
(CHAPTER 3). IT IS ANOTHER EXAMPLE FOR "A WOUNDING
APERTURE" (97) THAT AFFECTS THE PRODUCTION OF "FURTHER IMAGES" (97). THE
FILMS AND MUSIC VIDEO (THE BURNING MAN, 2008;
MAN ON GROUND, 2011; POWA, 2011) KESTING SUBSEQUENTLY DISCUSSES HAVE IN
COMMON TO MOVE AWAY FROM THE ICONIC
STATUS OF THE PHOTOGRAPH. THEY RATHER CONCENTRATE ON ERNEST NHAMUAVE AS
A PERSON AND HIS LIFE STORY. BY INCLUDING
THESE WORKS, KESTING DEMONSTRATES HOW THE BURNING MAN BROUGHT UP BROADER
QUESTIONS OF VIOLENCE.
IN CONTRAST TO THESE IMAGES, KESTING THEN CONTINUES TO EXAMINE
NON-SHOCKING, EVERYDAY PHOTOGRAPHS OF AFRICAN
IMMIGRANTS (CHAPTER 4). SPECIFICALLY FOCUSING ON PASSPORT AND IDENTITY
PHOTOGRAPHS, SHE QUESTIONS ASPECTS OF
IL/LEGALITY, IN/VISIBILITY, MOVEMENTS AND BORDERS THAT ARE TIGHTLY
CONNECTED TO SUCH PHOTOGRAPHS. TO COUNTER THE OFTEN-
RESTRICTIVE CONTROL OF IDENTITY PHOTOGRAPHY, KESTING INCLUDES TWO
PARTICIPATORY PHOTO PROJECTS (HOTEL YEOVILLE, 2010;
WORKING THE CITY, 2011) IN HER DISCUSSION. SUCH PROJECTS DRAW ATTENTION
TO THE MIGRANTS' AGENCY AND SELF-EXPRESSION
WITHIN THE NORMATIVE FRAME OF PHOTOGRAPHY AND THEREFORE EXEMPLIFY, AS
KESTING ARGUES, THAT "THE FRAMES AND FRAMINGS
OF AFRICAN MIGRANT SUBJECTIVITIES IN PHOTOGRAPHY" (141) NEED TO BE
COMPLICATED.
FROM HERE KESTING MOVES ON TO STUDY NOTIONS OF IN/VISIBILITIES AND
AFFECTIVE IMAGES OF THE 'OTHER' WHICH ARE LINKED TO
QUESTIONS OF REPRESENTATION (CHAPTER 5). TO SCRUTINISE THIS, KESTING
CHOOSES DOCUMENTARY FILMS (E.G. WE ARE NOWHERE,
2010; BORDER FARM, 2011) AS WELL AS THE FAMOUS DISTRICT 9 (2009) FEATURE
FILM THAT IN A DYSTOPIAN NARRATION OF EXTRA-
TERRESTRIAL ALIENS SETTLING IN JOHANNESBURG TACKLES QUESTIONS OF
XENOPHOBIA AND OTHERING IN A POST-APARTHEID SOCIETY. ALL
THESE EXAMPLES BLUR THE LINE BETWEEN DOCUMENTARY AND FICTION IMAGES TO
DIFFERENT EXTENTS, ALLOWING KESTING TO
DEMONSTRATE HOW THE COMBINATION OF IMAGES, WHICH QUOTE FROM A PAST
VISUAL REALM AND AT THE SAME TIME ARTICULATE
VISIONS OF THE FUTURE, COMPLICATES THE DOCUMENTARY APPROACH TO REALITY.
THUS, THE BOOK TRACES THE AFFECTIVE RELATIONS OF DOCUMENTARY IMAGES FROM
THE ANTI-APARTHEID BLACK-AND-WHITE
PHOTOGRAPHY TO THE MORE RECENT USE OF SUCH IMAGES IN FEATURE FILMS. THE
ANALYSES LEAD KESTING TO ARGUE "FOR A RADICAL
PRACTICE OF DOCUMENTARY - INCLUDING FICTIONALIZATION AND REENACTING THAT
GOES BEYOND POST-REPRESENTATION BUT RATHER
MULTIPLIES PERSPECTIVES OF WHITENESS AND BLACKNESS" (200). KESTING'S
BOOK CAN THEREFORE BE READ AS AN ATTEMPT TO
CONTRIBUTE TO THE OVERCOMING OF "THE BINARY OF TRUTH AND COUNTER-TRUTH"
(190) THAT OFTEN DOMINATES SOUTH AFRICAN
DOCUMENTARY IMAGES AS WELL AS THE DISCOURSES EVOLVING AROUND THEM.
THROUGHOUT THE BOOK, THE RICH AND DETAILED DESCRIPTIONS OF PHOTOGRAPHS
AND FILMS ARE A STRONG ASSET, SPEAKING OF
KESTING'S SENSITIVITY TOWARDS IMAGES. HER ASSOCIATIVE STYLE OF WRITING
AND THE POINTING TO A NUMBER OF DIFFERENT,
INTERDISCIPLINARY DIRECTIONS, HOWEVER, AT TIMES SEEM TO VEIL HER
ARGUMENTS AND THE APPLICATION OF AFFECT THEORY. FOR
INSTANCE, KESTING BRIEFLY MENTIONS THE "AFFECTIVE RESPONSE TO PASSPORT
PHOTOS" (122) BUT THEN MISSES TO SPELL OUT MORE
PRECISELY THEIR AFFECTIVE DYNAMICS AND TO CLOSELY RELATE THEM TO HER
CHOSEN THEORETICAL FRAMEWORK. THIS MAKES IT
DIFFICULT FOR READERS TO GRASP THE AFFECTIVE POTENTIAL OF NON-VIOLENT
PICTURES AND TO UNDERSTAND HOW THEY RELATE IN
TERMS OF AFFECT TO VIOLENT IMAGES.
HOWEVER, BY DEPLOYING AFFECT THEORY TO SOUTH AFRICAN DOCUMENTARY IMAGES,
MARIETTA KESTING TAKES AN INNOVATIVE
APPROACH TO ANALYSE THE COUNTRY'S VISUAL CULTURE AND TO REARRANGE ITS
ESTABLISHED ORDERS. IT ENABLES HER TO IDENTIFY A
NUMBER OF INTERDEPENDENCIES BETWEEN VISUAL DOCUMENTS OF MIGRATION, WHICH
DATE BOTH TO THE APARTHEID ERA AS WELL AS
TO THE NEW SOUTH AFRICA AND WHICH SO FAR HAVE NOT BEEN POINTED OUT. THIS
ENTAILS THE HIGHLIGHTING OF RELATIONS BETWEEN
IMAGES THAT HAVE BECOME ICONS AND IMAGES THAT ARE NOT AS WIDELY KNOWN.
KESTING THEREFORE OFFERS READERS A NEW
UNDERSTANDING OF SOUTH AFRICA'S VISUAL CULTURE AND OPENS UP THE FIELD TO
ALSO EXAMINE THE MORE RECENT USE OF IMAGES
(FOR INSTANCE ON SOCIAL MEDIA) WHILE RELATING THEM TO HISTORIC EXAMPLES
OF THE TWENTIETH CENTURY.
REZENSION UEBER:
MARIETTA KESTING: AFFECTIVE IMAGES. POST-APARTHEID DOCUMENTARY
PERSPECTIVES, ALBANY, NY: STATE UNIVERSITY OF NEW YORK PRESS 2017, XIV +
278 S.,
ISBN 978-1-4384-6785-6, USD 95,00
REZENSION VON:
KATHARINA JOERDER
FREIE UNIVERSITAET, BERLIN
EMPFOHLENE ZITIERWEISE:
KATHARINA JOERDER: REZENSION VON: MARIETTA KESTING: AFFECTIVE IMAGES.
POST-APARTHEID DOCUMENTARY PERSPECTIVES, ALBANY, NY: STATE UNIVERSITY OF
NEW YORK PRESS 2017, IN: SEHEPUNKTE 19 (2019), NR. 4 [15.04.2019], URL:
HTTP://WWW.SEHEPUNKTE.DE/2019/04/32623.HTML
BITTE GEBEN SIE BEIM ZITIEREN DIESER REZENSION DIE EXAKTE URL UND DAS
DATUM IHRES LETZTEN BESUCHS DIESER ONLINE-ADRESSE AN. |
| any_adam_object | 1 |
| author | Kesting, Marietta 1979- |
| author_GND | (DE-588)140329471 |
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| callnumber-subject | P - Philology and Linguistics |
| classification_rvk | LH 61090 AP 59579 AP 99077 AP 99079 |
| ctrlnum | (OCoLC)1030602176 (DE-599)BVBBV044765096 |
| dewey-full | 968.07 |
| dewey-hundreds | 900 - History & geography |
| dewey-ones | 968 - South Africa & southern Africa |
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| dewey-sort | 3968.07 |
| dewey-tens | 960 - History of Africa |
| discipline | Kunstgeschichte Allgemeines Geschichte |
| era | Geschichte 1991-2017 gnd |
| era_facet | Geschichte 1991-2017 |
| format | Thesis Book |
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| genre | (DE-588)4113937-9 Hochschulschrift gnd-content |
| genre_facet | Hochschulschrift |
| geographic | South Africa In mass media South Africa Politics and government 20th century Südafrika (DE-588)4078012-0 gnd |
| geographic_facet | South Africa In mass media South Africa Politics and government 20th century Südafrika |
| id | DE-604.BV044765096 |
| illustrated | Illustrated |
| indexdate | 2024-07-20T06:31:23Z |
| institution | BVB |
| isbn | 9781438467856 9781438467849 |
| language | English |
| lccn | 017002593 |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-030160418 |
| oclc_num | 1030602176 |
| open_access_boolean | |
| owner | DE-188 DE-703 |
| owner_facet | DE-188 DE-703 |
| physical | XIV, 278 Seiten Illustrationen |
| publishDate | 2017 |
| publishDateSearch | 2017 |
| publishDateSort | 2017 |
| publisher | SUNY Press |
| record_format | marc |
| spelling | Kesting, Marietta 1979- Verfasser (DE-588)140329471 aut Affective images of post-apartheid Affective images post-apartheid documentary perspectives Marietta Kesting Albany SUNY Press [2017] © 2017 XIV, 278 Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier Includes bibliographical references and index. - Includes filmography Dissertation Humboldt-Universität zu Berlin 2015 Geschichte 1991-2017 gnd rswk-swf Post-aparatheid era in mass media Documentary mass media South Africa History Massenmedien (DE-588)4037877-9 gnd rswk-swf South Africa In mass media South Africa Politics and government 20th century Südafrika (DE-588)4078012-0 gnd rswk-swf (DE-588)4113937-9 Hochschulschrift gnd-content Südafrika (DE-588)4078012-0 g Massenmedien (DE-588)4037877-9 s Geschichte 1991-2017 z DE-604 Erscheint auch als Online-Ausgabe 978-1-4384-6786-3 Überarbeitung von Kesting, Marietta Affective images of post-apartheid documentary perspectives on migration, xenophobia and gender in South African film and photography Berlin, 2015 (DE-604)BV043529630 http://www.sehepunkte.de/2019/04/32623.html rezensiert in: sehepunkte 19 (2019), Nr. 4 Rezension LoC Fremddatenuebernahme application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030160418&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis SWB Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030160418&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Rezension |
| spellingShingle | Kesting, Marietta 1979- Affective images post-apartheid documentary perspectives Post-aparatheid era in mass media Documentary mass media South Africa History Massenmedien (DE-588)4037877-9 gnd |
| subject_GND | (DE-588)4037877-9 (DE-588)4078012-0 (DE-588)4113937-9 |
| title | Affective images post-apartheid documentary perspectives |
| title_alt | Affective images of post-apartheid |
| title_auth | Affective images post-apartheid documentary perspectives |
| title_exact_search | Affective images post-apartheid documentary perspectives |
| title_full | Affective images post-apartheid documentary perspectives Marietta Kesting |
| title_fullStr | Affective images post-apartheid documentary perspectives Marietta Kesting |
| title_full_unstemmed | Affective images post-apartheid documentary perspectives Marietta Kesting |
| title_short | Affective images |
| title_sort | affective images post apartheid documentary perspectives |
| title_sub | post-apartheid documentary perspectives |
| topic | Post-aparatheid era in mass media Documentary mass media South Africa History Massenmedien (DE-588)4037877-9 gnd |
| topic_facet | Post-aparatheid era in mass media Documentary mass media South Africa History Massenmedien South Africa In mass media South Africa Politics and government 20th century Südafrika Hochschulschrift |
| url | http://www.sehepunkte.de/2019/04/32623.html http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030160418&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030160418&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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