Visualizing Theory is a lavishly illustrated collection of provocative essays, occasional pieces, and dialogues that first appeared in Visual Anthropology Review between 1990 and 1993. It contains contributions from anthropologists, from cultural, literary, and film critics, and from imagemakers themselves. Reclaiming visual anthropology as a space for the critical representation of visual culture from the naive realist and exoticist inclinations that have beleaguered practitioners' efforts to date, Visualizing Theory is a major intervention into this growing field. Attending to quick and dead imagery, to mobile and still art-ifacts, to the narrative and fetishistic alike, the contributions move variously between theorizing visuality and visualizing theory, eliciting reciprocities between these two modes of experience and cognition.
Covering a vast and heterogeneous field, Visualizing Theory contains essays on modernism and montage in a ethnography and film; on paranoiac space and exilic subjectivity; on films and memory; virtual reality and dis-appearing worlds; Indigenous Media and their lure of authenticity; ethnographic film and cine-ipsography; the disenchantment of the eye and the Surrealist crisis of ocularcentrism; on modernity and its resurgence of mimesis; on Dziga Vertov and the perceptual reconstruction of social identity; African tourist art and its simulations of postmodernity; and on the work of such imagemakers as Victor Burgin, David MacDougall, Jean Rouch, and Trinh T. Minh-ha.
Contributors: Homi Bhabha, Marc Blanchard, Victor Burgin, Jane Collins, Hal Foster, Martin Jay, Ludmilla Jordanova, Bennetta Jules-Rosette, Catherine Lutz, Dean MacCannell, David MacDougall, Alan Macfarlane, George Marcus, Trinh T. Minh-ha, Henrietta Moore, Rachel Moore, Bill Nichols, Christopher Pinney, Peter Redfield, C. Nadia Seremetakis, Paul Stoller, Marilyn Strathern, Susan Suleiman, Michael Taussig, David Tomas, Elizabeth Traube, Eliot Weinberger, Annette Weiner