Title | Date | Reference | Authors | Call # | ISSN | ||
---|---|---|---|---|---|---|---|
Introduction | 2024 | Visual anthropology 37 (1): 1-18 | *H6 [VISUAL-] | 1545-5920 | |||
The Syrian Archive Digital Memory Project: archiving as testimony, as evidence, as creative practice | 2024 | Visual anthropology 37 (1): 19-34 | *H6 [VISUAL-] | 1545-5920 | |||
The beginning of an idea about an end: on digital, diasporic, Syrian archives | 2024 | Visual anthropology 37 (1): 35-55 | *H6 [VISUAL-] | 1545-5920 | |||
The Tadamon massacre: archiving violence through the perpetrator's gaze | 2024 | Visual anthropology 37 (1): 56-73 | *H6 [VISUAL-] | 1545-5920 | |||
Video archives of the Syrian revolution: a media experiment | 2024 | Visual anthropology 37 (1): 74-91 | *H6 [VISUAL-] | 1545-5920 | |||
Afterword | 2024 | Visual anthropology 37 (1): 92-7 | *H6 [VISUAL-] | 1545-5920 | |||
The first images of Korea in Spanish media: von Hesse-Warteg and Sanín Cano | 2024 | Visual anthropology 37 (2): 99-125 | *H6 [VISUAL-] | 1545-5920 | |||
Visual community authoethnography and heritage: selected cairns in South Africa | 2024 | Visual anthropology 37 (2): 126-45 | *H6 [VISUAL-] | 1545-5920 | |||
The crossover: integrating Indian sign language with mudras in an Indian classical dance performance creation | 2024 | Visual anthropology 37 (2): 146-65 | *H6 [VISUAL-] | 1545-5920 | |||
Developing an artistic approach to ethnographic research | 2024 | Visual anthropology 37 (2): 166-83 | *H6 [VISUAL-] | 1545-5920 | |||
Australian Aboriginals in the snow | 2024 | Visual anthropology 37 (2): 184-91 | *H6 [VISUAL-] | 1545-5920 | |||
Contemporary ethnographic aesthetics: the TikTok turn | 2024 | Visual anthropology 37 (3): 195-211 | *H6 [VISUAL-] | 1545-5920 | |||
The work of craft in the age of mechanical reproduction: the Lai Xá photography village in Vietnam | 2024 | Visual anthropology 37 (3): 212-36 | *H6 [VISUAL-] | 1545-5920 | |||
Photographing the Igbo funeral: the materiality of its performance | 2024 | Visual anthropology 37 (3): 237-64 | *H6 [VISUAL-] | 1545-5920 | |||
Photo George, in Douala: one of the earliest photo studios in Cameroon | 2024 | Visual anthropology 37 (3): 265-82 | *H6 [VISUAL-] | 1545-5920 | |||
Epistemology of the ethnographic image: hybridizing genre in South Sudan's autobiographical cinema | 2024 | Visual anthropology 37 (3): 283-300 | *H6 [VISUAL-] | 1545-5920 | |||
Into the twentieth century: science and entertainment, two realms apart? | 2024 | Visual anthropology 37 (4): 301-21 | *H6 [VISUAL-] | 1545-5920 | |||
“The people’s Garibaldi”: twentieth-century politics of a Risorgimento icon | 2024 | Visual anthropology 37 (4): 322-53 | *H6 [VISUAL-] | 1545-5920 | |||
The material politics of graffiti removal | 2024 | Visual anthropology 37 (4): 354-75 | *H6 [VISUAL-] | 1545-5920 | |||
Botanizing the city of Kolkata: exploring the modern-day flâneuse and a refashioned mode of flânerie in Sujoy Ghosh’s Film Kahaani | 2024 | Visual anthropology 37 (4): 376-492 | *H6 [VISUAL-] | 1545-5920 | |||
Introduction | 2023 | Visual anthropology 36 (1): 1-2 | *H6 [VISUAL-] | 1545-5920 | |||
Visual and verbal semiotics in the Moscow-vs.-Paris Métro | 2023 | Visual anthropology 36 (1): 3-22 | *H6 [VISUAL-] | 1545-5920 | |||
QR codes in Moscow sites: invisible visibility, or keeping pace with the changes? | 2023 | Visual anthropology 36 (1): 23-37 | *H6 [VISUAL-] | 1545-5920 | |||
Memorial plaques in multimodal urban discourse: a visual narrative reflecting Moscow's glorious past | 2023 | Visual anthropology 36 (1): 38-53 | *H6 [VISUAL-] | 1545-5920 | |||
City-to-resident communication: speaking with seniors and youth | 2023 | Visual anthropology 36 (1): 54-68 | *H6 [VISUAL-] | 1545-5920 | |||
“Children of the Soil” to “Dark Wind”: nature, environment and climate in Indian films | 2023 | Visual anthropology 36 (1): 69-79 | *H6 [VISUAL-] | 1545-5920 | |||
Ethnography and volumography: drawings of theory on the blackboard | 2023 | Visual anthropology 36 (2): 95-116 | *H6 [VISUAL-] | 1545-5920 | |||
The male householder and the hypermasculine deity: Malayalam-language films based on the Sabarimala temple in Kerala | 2023 | Visual anthropology 36 (2): 117-41 | *H6 [VISUAL-] | 1545-5920 | |||
Delinking "the gentleman's game": visual epistemic representations in the film Shabaash Mithu | 2023 | Visual anthropology 36 (2): 142-74 | *H6 [VISUAL-] | 1545-5920 | |||
Photographic practices among Albanian families in Kosovo | 2023 | Visual anthropology 36 (2): 175-90 | *H6 [VISUAL-] | 1545-5920 | |||
Amateur film, cultural memory and the visual legacy of the 1920 Inter-Tribal Indian Ceremonial | 2023 | Visual anthropology 36 (3): 201-28 | *H6 [VISUAL-] | 1545-5920 | |||
Mumiani season: visual aspects of a south coast Kenyan rumor | 2023 | Visual anthropology 36 (3): 229-48 | *H6 [VISUAL-] | 1545-5920 | |||
(In)visibility, mediated, and sporting perceptions: Bollywood, biopics, and the epistemic turn in Mary Kom | 2023 | Visual anthropology 36 (3): 249-79 | *H6 [VISUAL-] | 1545-5920 | |||
A creative ethnography approach: reconstructing the socio-material remains of the ghost ships of Suva | 2023 | Visual anthropology 36 (3): 280-95 | *H6 [VISUAL-] | 1545-5920 | |||
When women speak phallocentric positionalities: biopolitics of female loneliness in the Russian cinemascape | 2023 | Visual anthropology 36 (4): 397-420 | *H6 [VISUAL-] | 1545-5920 | |||
“Today, we are all Ukrainians”—Visual responses in Georgian cities to Russia’s war in Ukraine | 2023 | Visual anthropology 36 (4): 348-72 | *H6 [VISUAL-] | 1545-5920 | |||
Personal epistemology on the war in eastern Ukraine in 2021: constructing and deconstructing knowledge | 2023 | Visual anthropology 36 (4): 308-29 | *H6 [VISUAL-] | 1545-5920 | |||
An authoritarian spectacle: visual biopolitics and the dramaturgy of the Poland-Belarus border migration crisis | 2023 | Visual anthropology 36 (4): 373-96 | *H6 [VISUAL-] | 1545-5920 | |||
Visual biopolitics of multiple insecurities: anthropological inquiries in Eastern Europe | 2023 | Visual anthropology 36 (4): 301-7 | *H6 [VISUAL-] | 1545-5920 | |||
Photography as testimony: insecurities, “bareness” of life, and resilience during the war in Ukraine | 2023 | Visual anthropology 36 (4): 330-47 | *H6 [VISUAL-] | 1545-5920 | |||
Peace and war in our bodies and our minds: public subversion vs. mass totalization | 2023 | Visual anthropology 36 (4): 421-42 | *H6 [VISUAL-] | 1545-5920 | |||
Probing issues of indigeneity and contemporaneity in a collection of Rorke’s drift ceramics | 2023 | Visual anthropology 36 (5): 515-33 | *H6 [VISUAL-] | 1545-5920 | |||
A future horizon for restitution in a film on the Argentinian puna: Rubén Guzmán’s The Noise of Time | 2023 | Visual anthropology 36 (5): 443-64 | *H6 [VISUAL-] | 1545-5920 | |||
Cultural globalization and transnational cinema: on intersectionality and ethnoscapes in Hermine Huntgeburth’s Die weiße Massai | 2023 | Visual anthropology 36 (5): 465-86 | *H6 [VISUAL-] | 1545-5920 | |||
The skyline is changing: editing space and discourse in nuclear decommissioning | 2023 | Visual anthropology 36 (5): 487-514 | *H6 [VISUAL-] | 1545-5920 | |||
Images of Syrian refugees in transit through minefields in Turkey, 2011–2015 | 2022 | Visual anthropology 35 (1): 5-36 | *H6 [VISUAL-] | 1545-5920 | |||
The making of an ethnographic film of the Hopi Snake Dance in August 1898: a reconstruction from the photographic and textual record | 2022 | Visual anthropology 35 (1): 37-79 | *H6 [VISUAL-] | 1545-5920 | |||
How does an image relate to what it shows?—The uses of photography among the Badagas of South India | 2022 | Visual anthropology 35 (1): 80-92 | *H6 [VISUAL-] | 1545-5920 | |||
Does ethnographic film (still) matter? Reflections on the genre in a world of multimodality | 2022 | Visual anthropology 35 (2): 120-37 | *H6 [VISUAL-] | 1545-5920 | |||
“We felt that the country was in the stage of a rough cut…”: vernacular documentation, political affects and the ideological functions of catharsis in Ukraine | 2022 | Visual anthropology 35 (2): 95-119 | *H6 [VISUAL-] | 1545-5920 |