-evolving ethical concerns we identify here are elaborated by Mok et al. in their discussion of the research ethics engendered by the rapid development of digital technologies and their application in social research. Their review of the visual ethics literature
Class, Gender, and Ethics in Visual Research with Girls
Janet Fink and Helen Lomax
Nineteenth Century American Primary School Geography Textbooks
European superiority textually and visually by referring to the development of industry and technology as a consequence of the colonization of the New World and by praising the “perseverance and inventive genius” of the new Americans. 47 Mitchell also
Although stereoscopic cinema was invented very early in the history of film, it did not become the standard for cinematic representations. With the latest digital wave of stereoscopic 3D cinema many shortcomings of earlier technologies have been eliminated, but debate remains about the aesthetic principles of stereoscopy. This article explores and evaluates basic approaches to aesthetic design in stereoscopic films.
A Critical Analysis of Media Representations of Gender, Youth, and MySpace.com in International News Discourses
This article raises issues related to the gendered representation in the print media, particularly English-language newspapers, of girls who use MySpace as foolish innocents who invite sexual predation. It examines the ways in which the stereotyped representation of girls and boys promotes the hegemonic discourses that construct girlhood as a time of helplessness and lack of control, and that blame the technology itself, in this case MySpace, for a multitude of cultural problems. Ultimately, these discourses portray MySpace as a dangerous place where adolescent girls flaunt sexuality, where sexual predators lurk, and where boys commit violence, thus creating and reinforcing a moral panic and extending stereotypes about girls and boys, and about technology.
André Bazin and Roland Barthes both theorize a cinematic realism based on the indexical ability of the photographic image (the ability of the image to indicate an original object). How are their arguments affected by the advent of digital, nonindexical cinematic technologies? The article considers how a nonindexical realism might be possible, by looking at three recent films: Waking Life, A Scanner Darkly, and Eternal Sunshine of the Spotless Mind.
We at Projections have stated our purpose as being to ‘facilitate a dialogue between people in the humanities and the sciences’ (not a modest goal for a little journal first making its way in the world). We have intended to do this through what seems to us the medium that best synthesises art and technology and opens itself up to scientific investigation because of its complex perceptual nature—film. Our focus, at the same time, has been on the mind/brain, since that seems to us the place were science and film best meet.
Empathy and Projection in the International Slavery Museum, Liverpool
Silke Arnold-de Simine
The moving image has become ubiquitous in museums that deal with traumatic, violent, and difficult histories and could be described as "memorial museums." This article investigates exhibition practices in the International Slavery Museum, Liverpool, in which large-scale video installations provide evocative recreations of traumatic experiences that are designed to unsettle and disturb visitors, providing them with a visceral and vicarious experience that calls for witnessing and "empathic unsettlement." It also queries the assumption that the capacity for empathy forms the basis for responsible moral agency, and whether museums aiming to encourage social responsibility should rely on such technologies.
Creating a Counter Discourse
The idea of devoting a special issue of Girlhood Studies to what Jonathan Bock (2012) calls technologies of nonviolence comes at a critical time in girlhood studies. On the one hand, technology—especially digital technology—and various social
This article explores the representation of sexuality and vision in Elfriede Jelinek's Die Klavierspielerin [The Piano Teacher] (1983) and Michael Haneke's La Pianiste (2001). In its focus on the relation between Mother and Erika, Die Klavierspielerin brings right to the fore the grounding of both sexuality and visuality in the ongoing ties between mother and child. Displacing that novel onto the screen, Haneke redoubles its focus on vision. It is in the convergence between the two that we can begin to explore what may be described as the maternal dimension of the various technologies of vision that have come to pervade the everyday experience of looking—their effect on our ways of understanding the relations between visuality and selfhood, visuality and mind.
Lissa Weinstein and Banu Seckin
When Craig, an oft-humiliated and unsuccessful street puppeteer, discovers a portal into the body of John Malkovich, he finds that fusion with a live “celebrity puppet” offers a solution to the dilemmas of being human— imperfection, vulnerability, and death. In this fantastical context, the filmmakers raise questions about intention, identity, authorship, and the wisdom of elevating narcissism over Eros. Although a desire to transcend the limitations of the mortal body may be ubiquitous, the unique solution offered in Being John Malkovich is the apparent triumph of this narcissistic fantasy, rather than an acceptance of reality. This article first explores the film's use of the universal imagery of narcissism and then examines how technology, which allows widespread access to a visually oriented media culture, and changes in the meaning of fame have altered the expression of narcissistic fantasies, as well as the anxieties that accompany their fulfillment.