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Visual Genders, Visual Histories. A Special Issue of Gender & History. Edition No. 1. Gender and History Special Issues

  • ID: 2248970
  • Book
  • November 2006
  • 360 Pages
  • John Wiley and Sons Ltd
This innovative book breaks new ground in visual studies with its specific exploration of the visual dimensions of gender.
  • Explores visual genders through material ranging from documentary film footage of liberated concentration camps after World War II to contemporary fashion photography in Tehran.
  • Chapters are organised conceptually under themes of documenting, trafficking and experimenting.
  • A diverse selection of exceptional and provocative images accompanies the text.
Note: Product cover images may vary from those shown
Introduction: Visual Genders: Patricia Hayes.

Part I: Documenting.

Does Gender Matter? Filmic Representations of the Liberated Nazi Concentration Camps, 1945-46: Ulrike Weckel.

Images of Poor but Virtuous Women: Morality, Gender and Power in Argentina between the World Wars: María Fernanda Lorenzo, Ana Lía Rey and Cecilia Tossounian.

The General View and Beyond: From Slum-yard to Township in Ellen Hellman’s Photographs of Women and the African Familial: Marijke Du Toit.

Racialising the Virile Body: Eadweard Muybridge’s Locomotion Studies, 1883-1887: Elspeth H. Brown.

Part II: Trafficking.

History, Memory and Trauma in Photography of the ‘Tondues’: Visuality of the Vichy Past through the Silent Image of Women: Alison M. Moore.

A Glance into the Camera: Gendered Visions of Historical Photographs in Kaoko (North-Western Namibia): Lorena Rizzo.

Decoration and Desire in the Watts Chapel, Compton: Narratives of Gender, Class and Colonialism: Elaine Cheasley Paterson.

Part III: Experimenting.

Faces and Bodies: Gendered Modernity and Fashion Photography in Tehran: Alec H. Balasescu.

Arne Svenson’s Queer Taxonomy: Elizabeth Birdsall.

The Temperance Temple and Architectural Representation in Late Nineteenth Century Chicago: Paula Young Lee.

There’s Something about Mary Wigman: The Woman Dancer as Subject in German Expressionist Art: Susan Laikin Funkenstein.

Notes on Contributors

Note: Product cover images may vary from those shown
Patricia Hayes University of the Western Cape.
Note: Product cover images may vary from those shown