- Page 2: VISUAL CULTURE Visual Culture is a
- Page 5 and 6: First published 1995 by Routledge 1
- Page 7 and 8: CONTENTS 10 TELEVISION: NOT SO MUCH
- Page 9 and 10: CONTRIBUTORS Malcolm Barnard is Sen
- Page 11 and 12: CONTRIBUTORS John A.Smith is Lectur
- Page 14 and 15: 1 THE CENTRALITY OF THE EYE IN WEST
- Page 16 and 17: AN INTRODUCTION Our contemporary vi
- Page 18 and 19: AN INTRODUCTION thesocial sciences
- Page 20 and 21: AN INTRODUCTION and ‘essential fo
- Page 22 and 23: AN INTRODUCTION To abstract implies
- Page 24 and 25: AN INTRODUCTION Baudrillard it mere
- Page 26 and 27: AN INTRODUCTION Ironically it is as
- Page 28 and 29: AN INTRODUCTION empiricist tactics
- Page 30 and 31: AN INTRODUCTION etymology of the wo
- Page 32 and 33: AN INTRODUCTION The city, though tr
- Page 34 and 35: AN INTRODUCTION Jenks begins with B
- Page 36 and 37: AN INTRODUCTION orders of experienc
- Page 38 and 39: AN INTRODUCTION Relations. London:
- Page 40 and 41: ADVERTISING: THE RHETORICAL IMPERAT
- Page 42 and 43: ADVERTISING: THE RHETORICAL IMPERAT
- Page 46 and 47: ADVERTISING: THE RHETORICAL IMPERAT
- Page 48 and 49: ADVERTISING: THE RHETORICAL IMPERAT
- Page 50 and 51: ADVERTISING: THE RHETORICAL IMPERAT
- Page 52 and 53: ADVERTISING: THE RHETORICAL IMPERAT
- Page 54 and 55: ADVERTISING: THE RHETORICAL IMPERAT
- Page 56 and 57: REPORTING AND VISUALISING and visua
- Page 58 and 59: REPORTING AND VISUALISING equipment
- Page 60 and 61: REPORTING AND VISUALISING If you wi
- Page 62 and 63: REPORTING AND VISUALISING a ‘real
- Page 64 and 65: REPORTING AND VISUALISING cover oth
- Page 66 and 67: REPORTING AND VISUALISING clear’,
- Page 68 and 69: REPORTING AND VISUALISING events ma
- Page 70 and 71: REPORTING AND VISUALISING Poster, M
- Page 72 and 73: FRACTURED SUBJECTIVITY with regard
- Page 74 and 75: FRACTURED SUBJECTIVITY And there we
- Page 76 and 77: FRACTURED SUBJECTIVITY from the ver
- Page 78 and 79: FRACTURED SUBJECTIVITY complicated
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- Page 82 and 83: FRACTURED SUBJECTIVITY Figure 4.4 G
- Page 84 and 85: FRACTURED SUBJECTIVITY its continge
- Page 86 and 87: FRACTURED SUBJECTIVITY appears to s
- Page 88 and 89: FRACTURED SUBJECTIVITY not the cont
- Page 90 and 91: 5 THE CITY, THE CINEMA: MODERN SPAC
- Page 92 and 93: THE CITY, THE CINEMA: MODERN SPACES
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THE CITY, THE CINEMA: MODERN SPACES
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THE CITY, THE CINEMA: MODERN SPACES
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THE CITY, THE CINEMA: MODERN SPACES
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THE CITY, THE CINEMA: MODERN SPACES
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THE CITY, THE CINEMA: MODERN SPACES
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THE CITY, THE CINEMA: MODERN SPACES
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THE CITY, THE CINEMA: MODERN SPACES
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THE CITY, THE CINEMA: MODERN SPACES
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FABULOUS CONFUSION! POP BEFORE POP?
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FABULOUS CONFUSION! POP BEFORE POP?
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FABULOUS CONFUSION! POP BEFORE POP?
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FABULOUS CONFUSION! POP BEFORE POP?
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FABULOUS CONFUSION! POP BEFORE POP?
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FABULOUS CONFUSION! POP BEFORE POP?
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FABULOUS CONFUSION! POP BEFORE POP?
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FABULOUS CONFUSION! POP BEFORE POP?
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FABULOUS CONFUSION! POP BEFORE POP?
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FABULOUS CONFUSION! POP BEFORE POP?
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FABULOUS CONFUSION! POP BEFORE POP?
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FABULOUS CONFUSION! POP BEFORE POP?
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FABULOUS CONFUSION! POP BEFORE POP?
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7 AN ART OF SCHOLARS Corruption, ne
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AN ART OF SCHOLARS The details are
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AN ART OF SCHOLARS The other world
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AN ART OF SCHOLARS The defeat of na
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AN ART OF SCHOLARS Determining the
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AN ART OF SCHOLARS because of, or b
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AN ART OF SCHOLARS an experience’
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AN ART OF SCHOLARS the fulfilment o
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AN ART OF SCHOLARS NOTES 1 It would
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AN ART OF SCHOLARS Rosen, Stanley (
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WATCHING YOUR STEP This phone call
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WATCHING YOUR STEP realisation of t
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WATCHING YOUR STEP It is not an ori
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WATCHING YOUR STEP understanding of
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WATCHING YOUR STEP ‘at home in th
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WATCHING YOUR STEP is to commend th
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WATCHING YOUR STEP an original imag
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WATCHING YOUR STEP The Victorian
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WATCHING YOUR STEP The Nichol was s
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9 REICH DREAMS Ritual horror and ar
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REICH DREAMS Secondly, and Steiner
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REICH DREAMS power took control of
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REICH DREAMS and technology, as in
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REICH DREAMS reaffirming the gratui
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TELEVISION: MORE A VISIBLE OBJECT w
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TELEVISION: MORE A VISIBLE OBJECT (
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TELEVISION: MORE A VISIBLE OBJECT (
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TELEVISION: MORE A VISIBLE OBJECT t
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TELEVISION: MORE A VISIBLE OBJECT t
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TELEVISION: MORE A VISIBLE OBJECT l
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TELEVISION: MORE A VISIBLE OBJECT I
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TELEVISION: MORE A VISIBLE OBJECT O
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TELEVISION: MORE A VISIBLE OBJECT D
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TELEVISION: MORE A VISIBLE OBJECT M
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FOUCAULT’S OPTICS death and not b
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FOUCAULT’S OPTICS flesh and tissu
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FOUCAULT’S OPTICS the region that
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FOUCAULT’S OPTICS Thus armed, the
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FOUCAULT’S OPTICS its significati
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FOUCAULT’S OPTICS 15 Foucault, Th
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MANAGING ‘TRADITION’ whether th
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MANAGING ‘TRADITION’ double (at
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MANAGING ‘TRADITION’ technoscie
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MANAGING ‘TRADITION’ might stil
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MANAGING ‘TRADITION’ already th
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MANAGING ‘TRADITION’ subject to
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MANAGING ‘TRADITION’ Knowledge-
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MANAGING ‘TRADITION’ calculativ
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PHOTOGRAPHY AND MODERN VISION cinem
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PHOTOGRAPHY AND MODERN VISION class
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PHOTOGRAPHY AND MODERN VISION visio
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PHOTOGRAPHY AND MODERN VISION —th
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PHOTOGRAPHY AND MODERN VISION demon
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PHOTOGRAPHY AND MODERN VISION Poton
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PHOTOGRAPHY AND MODERN VISION the u
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PHOTOGRAPHY AND MODERN VISION to kn
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PHOTOGRAPHY AND MODERN VISION The w
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PHOTOGRAPHY AND MODERN VISION Schaf
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THREE IMAGES OF THE VISUAL empirici
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THREE IMAGES OF THE VISUAL of time.
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THREE IMAGES OF THE VISUAL we must
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THREE IMAGES OF THE VISUAL to the f
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THREE IMAGES OF THE VISUAL attitude
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THREE IMAGES OF THE VISUAL (inadver
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THREE IMAGES OF THE VISUAL what pai
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THREE IMAGES OF THE VISUAL rather i
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THREE IMAGES OF THE VISUAL If I ins
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THREE IMAGES OF THE VISUAL mechanic
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THREE IMAGES OF THE VISUAL When art
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Bauhaus 19 Bauman, Z. 148 Bausinger
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formalism 6-7, 24, 89, 124, 239, 24
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Mayhew, H. 158 Meckel, Johann Fried
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Ruscha, Edward 100, 101-2, 111 Rutt
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witchcraft, anthropology of 79 Witt