estimated 300 million users worldwide. It allows users to upload, manage, modify, and share images with accompanying texts. Following Rosen (2009) and Verloo and Lombardo (2007) in using policy frame and visual analysis, I describe how UNICEF uses
The Ethics of Representing Girls in Digital Policy Spaces
Symbolic Nation-building through Images in Post-Yugoslav History Textbooks
Tamara P. Trošt and Jovana Mihajlović Trbovc
landscape, such as street signs 9 and colors of benches and trashcans. 10 Where textbooks are concerned, Peter Carrier's review of changes in textbook analysis over time shows trends in the visual analysis of textbooks: when images are analyzed, they
Re-viewing Images of Girls' Education
Cathryn Magno and Jackie Kirk
In this article we discuss the ways in which images of girls are understood to represent broader international development discourses related to girls' education. This piece was originally written for the United Nations Girls' Education Initiative (UNGEI), conceived with UNICEF out of their interest in determining whether images they produce accurately represent policies and processes they engage in on behalf of girls' education; that report was UNICEF's contribution to the UNGEI partnership. The premise that visual analysis contributes to the study of girlhood was reified in this study which revealed the many deep and sometimes conflicting meanings that diverse viewers place on images.
Visual History Lessons Told by Der Spiegel
Picture-type Analysis of History Narratives Conveyed by the German Magazine
Horst-Alfred Heinrich and Claudia Azcuy Becquer
social science research has so far hardly addressed this publication. 42 None of the existing studies analyze the magazine's approach to history via a visual analysis of its covers. This article therefore limits itself to offering a first descriptive
Media Ecologies of Autonomous Automobility
Gendered and Racial Dimensions of Future Concept Cars
Julia M. Hildebrand and Mimi Sheller
The imagination of automated automobility puts into question the control of the vehicle by a masculine driver and potentially disturbs feelings of safety, power, security, and freedom. Given that systems of automobility and communication technology are already gendered and racialized in particular ways, this article explores how recent “premediated” depictions of automated car technologies reconfigure and reproduce the historically gendered and raced representations, meanings, and practices of (auto)mobility. This inquiry employs a media ecological approach within the qualitative analysis of two concept car previews by Nissan and Volvo. Rather than a degendering of the driver, we suggest a multiplication of gendered and racialized technologies of mobility via several forms of hypermediation. We also explore how the autonomous car continues to evoke utopian spatial metaphors of the car as sanctuary and communicative environment while allaying fears of dystopian metaphors of the vehicle as traffic trap, virtual glass house, and algorithmic target.
Mainstreaming the Radical Right?
The Ambiguous Populism of the COVID-19 Street Protests in Germany
In Germany, tens of thousands of people took to the streets to demonstrate against the government's measures to handle the covid-19 pandemic. These protests started in the spring of 2020. What makes these protests puzzling is their unusual heterogeneous political composition and ambiguous symbolism. This article argues that protesters used the pandemic (and calls for “freedom” from restrictions) to bridge left- and right-wing movement frames. Importantly, though, the amplification of radical right strands of populist discourse played a central role in this frame-bridging. These arguments are supported by a visual discourse analysis using photographs of demonstrators and protest materials (N = 212) taken at the Berlin “Querdenken” demonstration on 29 August 2020. The implications of these findings for the mainstreaming of right-wing politics are then discussed.
A Visual Genealogy of a Sacred Landscape
Noa Hazan and Avital Barak
This article explores the role of the Temple Mount in the Israeli visual sphere before and after the 1967 Arab-Israeli War, whose fiftieth anniversary will be commemorated this June. Each of the four sections examines the dominant patterns of representation at key moments of Zionism, from the emergence of photography in the Middle East in the nineteenth century, to current representations of the Temple Mount. Analysis of the four periods demonstrates that the visual characteristics used to depict the Temple Mount were neither natural nor neutral, but rather charged with political agendas. The photographs expose the deepseated conflict inherent in Israel’s self-definition as a modern secular state that is based on a religious, biblical, and messianic ethos.
Visual Literacy in History Education
Textbooks and Beyond
Mischa Gabowitsch and Anna Topolska
of textbook theory in general is largely borrowed from language-centered disciplines such as linguistics and literary studies, abounding in terms such as “discourse” and “genre.” 1 In contrast, the visual analysis of textbooks is far less developed
Unruly Landscapes and the City of London
Mobility Studies, Street Photography, and Stephen McLaren's The Crash
Susan P. Mains
: Critical Visual Analysis, Challenging Narratives of City Mobilities, and Minding the Gaps “Beware: Thieves operate in this area.” (Statement on street sign shown in opening photograph of McLaren's The Crash .) At first glance, photographs can appear
Challenging Binaries in Posthuman Worlds
An Analysis of Lu Yang's The Great Adventure of Material World
The Material World Knight is an anime-style superhero from Lu Yang's artwork The Great Adventure of Material World—Game Film (2020) who battles oppressive binary systems on his quest for transcendence. This article uses discourse and visual analysis to study how this short film employs references to Buddhist philosophy and Japanese anime to reconceptualize subjectivity. The study draws on posthuman theory by Rosi Braidotti and Donna Haraway to show how the artwork produces a post-dualist, posthuman, relational concept of subjectivity while also complicating any straightforward interpretations in favor of maintaining complexity and “staying with the trouble.”