Zur Rechtsprechung - Das "in camera" - Verfahren
In: Neue Zeitschrift für Verwaltungsrecht: NVwZ ; vereinigt mit Verwaltungsrechtsprechung, Band 20, Heft 7, S. 759-763
ISSN: 0721-880X
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In: Neue Zeitschrift für Verwaltungsrecht: NVwZ ; vereinigt mit Verwaltungsrechtsprechung, Band 20, Heft 7, S. 759-763
ISSN: 0721-880X
In: Journal of the Royal United Services Institute for Defence Studies, Band 125, Heft 4, S. 74-77
In: Public culture, Band 29, Heft 3, S. 493-514
ISSN: 1527-8018
Across Guatemala City, Pentecostal drug rehabilitation centers warehouse users (often against their will) in the name of salvation. This essay, in response, details how pastors deploy digital media to assess a user's relative fitness for a Christian life. Of particular interest is how pastors insist that photographs and videos allow the faithful to read users for signs of the soul. Contributing to the criminalization and mass incarceration of drug users, these images organize the outer edges of today's war on drugs.
In: Third world quarterly, Band 11, Heft 4, S. 350-351
ISSN: 0143-6597
In: Survey review, Band 4, Heft 27, S. 272-275
ISSN: 1752-2706
In: Social studies: a periodical for teachers and administrators, Band 25, Heft 5, S. 231-233
ISSN: 2152-405X
In: The women's review of books, Band 21, Heft 7, S. 10
In: The women's review of books, Band 17, Heft 7, S. 9
In: Man: the journal of the Royal Anthropological Institute of Great Britain and Ireland, Band 8, Heft 4, S. 642
In: American anthropologist: AA, Band 103, Heft 3, S. 813-814
ISSN: 1548-1433
Stranger with. Camera. 2000. 60 minutes, color. video by Elizabeth Barret For more information, contact Appalshop Film Studios, 91 Madison Avenue, Whitesburg, KY 41858.
In: Nka: journal of contemporary African art, Band 2020, Heft 47, S. 82-93
ISSN: 2152-7792
This article explores the entanglement of Congolese popular painting with photography through the case of Patrice Lumumba, the first democratically elected prime minister of the Democratic Republic of Congo, who was assassinated in 1961. Lumumba's final public appearance was immortalized in a series of photographs and newsreel footage that was disseminated around the world. The author contends that the events thereafter are frequently envisioned by Congolese popular painting, as it takes over from the operations of the camera in an era largely defined by the photographic. The article suggests that photography and Congolese popular painting are enmeshed in the creation of a visual archive around the figure of Lumumba. Furthermore, it examines the indebtedness of popular painting to photographic culture as well as other sources in the "colonial contact zone."