Marco Bohr – författare

This volume addresses the evolution of the visual in digital communities, offering a multidisciplinary discussion of the ways in which images are circulated in digital communities, the meanings that are attached to them and the implications they have for notions of identity, memory, gender, cultural belonging and political action. Contributors focus on the political efficacy of the image in digital communities, as well as the representation of the digital self in order to offer a fresh perspective on the role of digital images in the creation and promotion of new forms of resistance, agency and identity within visual cultures.

This volume addresses the evolution of the visual in digital communities, offering a multidisciplinary discussion of the ways in which images are circulated in digital communities, the meanings that are attached to them and the implications they have for notions of identity, memory, gender, cultural belonging and political action. Contributors focus on the political efficacy of the image in digital communities, as well as the representation of the digital self in order to offer a fresh perspective on the role of digital images in the creation and promotion of new forms of resistance, agency and identity within visual cultures.

Capture Japan investigates the formation of visual tropes and how these have contributed to perceptions of Japan in the global imagination. The book proposes that images are not incidental in the formation of such perceptions, but central to notions about identity, history and memory. From a tentative western ally in 1952 to a ''soft power'' superpower with a huge global influence in the 21st century, the book locates questions about Japan in the global imagination to the country''s transforming geopolitical position. By adopting an interdisciplinary approach, with a multiplicity of perspectives from around the world, Capture Japan goes beyond binarisms to uncover how images can also produce discourses that challenge, subvert or even contradict each other. The word ''capture'' in the title of the book recognises both the deeply problematic role that images have played in relation to colonialism, as well as the potential dominance that visual spectacles can wield in a contemporary context. Diverse essays from a wide range of perspectives investigate the institutional framework that has allowed certain types of images of Japan to be promoted, while others have been suppressed.In doing so, the book points to a vast network of images that have shaped the perception of Japan both from within and from outside, revealing how these images are inextricably linked to wider ideological, political, cultural or economic agendas.

Capture Japan investigates the formation of visual tropes and how these have contributed to perceptions of Japan in the global imagination. The book proposes that images are not incidental in the formation of such perceptions, but central to notions about identity, history and memory. From a tentative western ally in 1952 to a ''soft power'' superpower with a huge global influence in the 21st century, the book locates questions about Japan in the global imagination to the country''s transforming geopolitical position. By adopting an interdisciplinary approach, with a multiplicity of perspectives from around the world, Capture Japan goes beyond binarisms to uncover how images can also produce discourses that challenge, subvert or even contradict each other. The word ''capture'' in the title of the book recognises both the deeply problematic role that images have played in relation to colonialism, as well as the potential dominance that visual spectacles can wield in a contemporary context. Diverse essays from a wide range of perspectives investigate the institutional framework that has allowed certain types of images of Japan to be promoted, while others have been suppressed.In doing so, the book points to a vast network of images that have shaped the perception of Japan both from within and from outside, revealing how these images are inextricably linked to wider ideological, political, cultural or economic agendas.

Capture Japan investigates the formation of visual tropes and how these have contributed to perceptions of Japan in the global imagination. The book proposes that images are not incidental in the formation of such perceptions, but central to notions about identity, history and memory. From a tentative western ally in 1952 to a ‘soft power’ superpower with a huge global influence in the 21st century, the book locates questions about Japan in the global imagination to the country’s transforming geopolitical position. By adopting an interdisciplinary approach, with a multiplicity of perspectives from around the world, Capture Japan goes beyond binarisms to uncover how images can also produce discourses that challenge, subvert or even contradict each other. The word ‘capture’ in the title of the book recognises both the deeply problematic role that images have played in relation to colonialism, as well as the potential dominance that visual spectacles can wield in a contemporary context. Diverse essays from a wide range of perspectives investigate the institutional framework that has allowed certain types of images of Japan to be promoted, while others have been suppressed.In doing so, the book points to a vast network of images that have shaped the perception of Japan both from within and from outside, revealing how these images are inextricably linked to wider ideological, political, cultural or economic agendas.

This book presents innovative analysis of emergent visual trends in Japan from the late 1960s to the present day. Adopting a thematic approach, this interdisciplinary text deconstructs the role that visual practices played in shaping a variety of countercultural discourses related to politics, gender, identity, sexuality, censorship, ethics and disasters. The book makes the case that visual practices do not merely function as a way to record counterculture, but that such practices are in themselves contributing to dynamics of resistance. By considering a wide range of artists, photographers, film makers and practitioners, the book focuses on the way that visual culture transgresses, subverts or in the very least questions assumed socio-cultural boundaries in Japan. In doing so, the book foregrounds the crucial role that images play in our society today. Images are no just depictions of political shifts as and when they do occur, but they form part of this very shift in their own right. The book also highlights the interconnectedness between various visual practices and how they fit into wider geopolitical considerations on a global scale.

This book presents innovative analysis of emergent visual trends in Japan from the late 1960s to the present day. Adopting a thematic approach, this interdisciplinary text deconstructs the role that visual practices played in shaping a variety of countercultural discourses related to politics, gender, identity, sexuality, censorship, ethics and disasters. The book makes the case that visual practices do not merely function as a way to record counterculture, but that such practices are in themselves contributing to dynamics of resistance. By considering a wide range of artists, photographers, film makers and practitioners, the book focuses on the way that visual culture transgresses, subverts or in the very least questions assumed socio-cultural boundaries in Japan. In doing so, the book foregrounds the crucial role that images play in our society today. Images are no just depictions of political shifts as and when they do occur, but they form part of this very shift in their own right. The book also highlights the interconnectedness between various visual practices and how they fit into wider geopolitical considerations on a global scale.

This book presents innovative analysis of emergent visual trends in Japan from the late 1960s to the present day. Adopting a thematic approach, this interdisciplinary text deconstructs the role that visual practices played in shaping a variety of countercultural discourses related to politics, gender, identity, sexuality, censorship, ethics and disasters. The book makes the case that visual practices do not merely function as a way to record counterculture, but that such practices are in themselves contributing to dynamics of resistance. By considering a wide range of artists, photographers, film makers and practitioners, the book focuses on the way that visual culture transgresses, subverts or in the very least questions assumed socio-cultural boundaries in Japan. In doing so, the book foregrounds the crucial role that images play in our society today. Images are no just depictions of political shifts as and when they do occur, but they form part of this very shift in their own right. The book also highlights the interconnectedness between various visual practices and how they fit into wider geopolitical considerations on a global scale.