Chad Elias analyzes a generation of artists working in Lebanon who interrogate Lebanon's civil war (1975–1990), showing how their appropriation and creation of images challenge divisive political discourse, give a voice to those silenced and forgotten, and provide the means to reimagine Lebanon's future.
Chad Elias analyzes a generation of artists working in Lebanon who interrogate Lebanon's civil war (1975–1990), showing how their appropriation and creation of images challenge divisive political discourse, give a voice to those silenced and forgotten, and provide the means to reimagine Lebanon's future.
Chad Elias is Assistant Professor of Art History at Dartmouth College.
Inhaltsangabe
List of Illustrations ix Acknowledgments xiii Introduction 1 1. Captive Subjects: On the Geopolitics of Sex and Translation in Walid Raad's Hostage: The Bachar Tapes 27 2. Resistance, Video Martyrdom, and the Afterlife of the Lebanese Left 55 3. Latent Images, Buried Bodies: Mourning Lebanon's Disappeared 93 4. Suspended Places: The Void and the Monument in Post-Civil War Beirut 131 5. Images of Futures Past: The Lebanese Rocket Society 159 Coda. Time Bomb 177 Notes 193 Bibliography 225 Index 239
List of Illustrations ix Acknowledgments xiii Introduction 1 1. Captive Subjects: On the Geopolitics of Sex and Translation in Walid Raad's Hostage: The Bachar Tapes 27 2. Resistance, Video Martyrdom, and the Afterlife of the Lebanese Left 55 3. Latent Images, Buried Bodies: Mourning Lebanon's Disappeared 93 4. Suspended Places: The Void and the Monument in Post-Civil War Beirut 131 5. Images of Futures Past: The Lebanese Rocket Society 159 Coda. Time Bomb 177 Notes 193 Bibliography 225 Index 239
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