Download PDF by Katherine Biber: Captive Images Race, Crime, Photography

By Katherine Biber

ISBN-10: 0203945123

ISBN-13: 9780203945124

ISBN-10: 1904385729

ISBN-13: 9781904385721

Captive photos examines the law’s therapy of photographic proof and makes use of it to enquire the connection among legislations, picture and fable. established round the scholarly exam of a financial institution theft, within which a surveillance digital camera captures the theft in development, Katherine Biber attracts upon serious writing from psychoanalysis, postcolonialism, paintings, legislation, literature and feminism to 'read' this crime, its texts and its pictures. the result's an interdisciplinary learn of crime that unfolds a compelling narrative approximately race relatives, nationwide id and worry. This ebook is a vital learn for all degrees of legislations scholars learning, or drawn to, legislation, criminology and cultural reviews.

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The photographs from Mundarra Smith’s trial take a central role in the nationalist fantasy in which national space is contained, contested and managed. Ghassan Hage’s analysis of national space centres around notions of ‘power’, ‘belonging’ and ‘tolerance’ through which legitimacy is asserted and perpetuated. The nation – a ‘fantasy space’ – is contested by groups seeking to exert power over that space. Hage (1998), invoking Lacan’s and Zˇizˇek’s theorisations of the Nation-Thing, described the simultaneous impossibility of attaining that fantasy nation, and the constant need to The national bank 29 believe in its possibility.

Benjamin’s analysis has been followed in a long strand of philosophical writing on photography. Pierre Bourdieu analysed photography in his 1965 book Un art moyen (translated as Photography: A Middle-Brow Art (1990)). He focused on its use in bourgeois and domestic practices, located firmly in the family. Photography, for Bourdieu, is a tool of memory, recollection and re-presentation. But it is more than that. In law it becomes a tool for verification. Bourdieu claimed that photography is open to a ‘sociological’ reading: The photograph must only supply a representation that is true and precise enough to permit recognition.

There was former US Secretary of State Colin Powell addressing the UN Security Council in 2003, holding up an aerial photograph which he said showed that the Iraqi regime of Saddam Hussein was hoarding biological or chemical weapons. There were the photographs of Iraqi prisoners in Abu Ghraib, dehumanised and tortured, beside the jaunty thumbs-up smiles of their US military custodians in which we knew that something had gone terribly awry in the liberation of Iraq from tyranny. By the time footage was released of British soldiers beating Iraqi teenagers, complete with voice-over narrative and a theme by Wagner, these images had become a genre with which we were The hooded bandit 15 already familiar and growing weary.

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Captive Images Race, Crime, Photography by Katherine Biber


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