This volume collects over two dozen of Stuart Hall's essays, lectures, reviews, catalog texts, and conversations on art, film, and photography, providing rare insights into his engagement with the intellectual and aesthetic space of the visual imaginary.
This volume collects over two dozen of Stuart Hall's essays, lectures, reviews, catalog texts, and conversations on art, film, and photography, providing rare insights into his engagement with the intellectual and aesthetic space of the visual imaginary.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Stuart Hall (1932–2014) was one of the most prominent and influential scholars and public intellectuals of his generation. Hall taught at the University of Birmingham and the Open University, was the founding editor of New Left Review, and was the author of Cultural Studies 1983: A Theoretical History, Familiar Stranger: A Life between Two Islands, and other books also published by Duke University Press. Gilane Tawadros is Director of the Whitechapel Gallery, Chair of the Stuart Hall Foundation, and author of The Sphinx Contemplating Napoleon: Global Perspectives on Contemporary Art and Difference.
Inhaltsangabe
Acknowledgments xi Introduction. Detour to the Imaginary: Stuart Hall’s Writings on the Visual Arts and Culture / Gilane Tawadros 1 Prologue. Subjects in History: Making Diasporic Identities [1998] 19 Part I. Thinking-With/In the Image 1. Isaac Julien’s Workshop [2013] 31 2. Democracy, Globalization, and Difference [2001] 39 3. The Way We Live Now [2004] 55 Part II. The New Politics of Representation: Black Film/British Cinema 4. New Ethnicities [1988] 65 5. Threatening Pleasures: A Conversation between Homi Bhabha, Paul Gilrory, and Stuart Hall [1991] 77 6. A Rage in Harlesden [1998] 86 7. Cultural Identity and Cinematic Representation [1992] 93 Part III. Fanon, Creolization, and Diaspora 8. The After-Life of Frantz-Fanon: Why Fanon? Why Now? Why Black Skins, White Masks? [1996] 111 9. Créolité and the Process of Creolization [2003] 132 10. Legacies of Anglo-Caribbean Culture: A Diasporic Perspective [2007] 148 Part IV. Assembling the 1980s 11. Minimal Selves [1988] 173 12. Assembling the 1980s: The Deluge—and After [2005] 180 Part V. Photography, Representation, and Black Identity 13. The Vertigo of Displacement: Shifts within Black Documentary Practices [1992] / David A. Bailey and Stuart Hall 203 14. Preface to Different [2001] 213 15. “Speak Easy”: Black in the Seventies [2012] 223 Part VI. Reconstruction Work: Histories, Archives, and Diaspora 16. Reconstruction Work: Images of Post-war Black Settlement [1984] 239 17. The “West Indian” Front Room [2009] 250 18. Constituting the Archive [2001] 260 19. Whose Heritage: Unsettling “The Heritage,” Reimagining the Post-Nation [1999] 268 20. Modernity and Its Others: Three “Moments” in the Post-war History of the Black Diaspora Arts [2006] 283 Part VII. Museums, Modernity, and Difference 21. Museums of Modern Art and the End of History [2001] 309 22. Modernity and Difference: A Conversation between Stuart Hall and Sarat Maharaj [2004] 322 Part VIII. Dreaming in Afro 23. Chris Ofili in Paradise: Dreaming in Afro [2003] 341 24. Maps of Emergency: Fault Lines and Tectonic Plates [2003] 349 Place of First Publication 367 Index
Acknowledgments xi Introduction. Detour to the Imaginary: Stuart Hall’s Writings on the Visual Arts and Culture / Gilane Tawadros 1 Prologue. Subjects in History: Making Diasporic Identities [1998] 19 Part I. Thinking-With/In the Image 1. Isaac Julien’s Workshop [2013] 31 2. Democracy, Globalization, and Difference [2001] 39 3. The Way We Live Now [2004] 55 Part II. The New Politics of Representation: Black Film/British Cinema 4. New Ethnicities [1988] 65 5. Threatening Pleasures: A Conversation between Homi Bhabha, Paul Gilrory, and Stuart Hall [1991] 77 6. A Rage in Harlesden [1998] 86 7. Cultural Identity and Cinematic Representation [1992] 93 Part III. Fanon, Creolization, and Diaspora 8. The After-Life of Frantz-Fanon: Why Fanon? Why Now? Why Black Skins, White Masks? [1996] 111 9. Créolité and the Process of Creolization [2003] 132 10. Legacies of Anglo-Caribbean Culture: A Diasporic Perspective [2007] 148 Part IV. Assembling the 1980s 11. Minimal Selves [1988] 173 12. Assembling the 1980s: The Deluge—and After [2005] 180 Part V. Photography, Representation, and Black Identity 13. The Vertigo of Displacement: Shifts within Black Documentary Practices [1992] / David A. Bailey and Stuart Hall 203 14. Preface to Different [2001] 213 15. “Speak Easy”: Black in the Seventies [2012] 223 Part VI. Reconstruction Work: Histories, Archives, and Diaspora 16. Reconstruction Work: Images of Post-war Black Settlement [1984] 239 17. The “West Indian” Front Room [2009] 250 18. Constituting the Archive [2001] 260 19. Whose Heritage: Unsettling “The Heritage,” Reimagining the Post-Nation [1999] 268 20. Modernity and Its Others: Three “Moments” in the Post-war History of the Black Diaspora Arts [2006] 283 Part VII. Museums, Modernity, and Difference 21. Museums of Modern Art and the End of History [2001] 309 22. Modernity and Difference: A Conversation between Stuart Hall and Sarat Maharaj [2004] 322 Part VIII. Dreaming in Afro 23. Chris Ofili in Paradise: Dreaming in Afro [2003] 341 24. Maps of Emergency: Fault Lines and Tectonic Plates [2003] 349 Place of First Publication 367 Index
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