By Allen Meek
This booklet provides an ancient account of media and disaster that engages with theories of biopolitics within the paintings of Michel Foucault, Giorgio Agamben, Michael Hardt, Antonio Negri and others. It explains how responses to disaster in media and cultural feedback over the last a hundred and fifty years are embedded in organic conceptions of existence and demise, infection and immunity, race and species. Mediated disaster is usually understood at the present time when it comes to collective reminiscence and in response to healing or redemptive bills of trauma. unlike those techniques this e-book emphasizes using media to list, archive and research actual visual appeal and flow; to seize viewer consciousness via surprise; to watch and keep an eye on our bodies in economies of creation and intake; to enmesh social family in info networks; and situate matters in discourses of victimhood, immunity, survival and resilience. Chapters are concerned with ancient case reviews of early images, Nazi propaganda, colonial stereotypes, Hiroshima, the Holocaust, the chilly conflict and the warfare on terror.
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Additional info for Biopolitical Media: Catastrophe, Immunity and Bare Life
Trauma became, through Benjamin’s theory of shock, a defining feature of industrial modernity. The new visual media also became part of the Nazi apparatus of genocide. 22 Introduction As a specific case study the chapter discusses the notorious Nazi propaganda film The Eternal Jew, which uses the technique pioneered in eugenics, of comparing the physiognomy of different racial groups. The film also includes a long sequence denouncing the “barbarism” of the Jewish slaughter of animals. In The Open, Agamben has discussed how the Western philosophical tradition has defined human life by distinguishing it from animal life and through what he calls the “anthropological machine” (33).
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