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Journal articles on the topic 'Spectacle violence'

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Author: Grafiati

Published: 10 December 2022

Last updated: 28 January 2023

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1

Tran, Jeanette Nguyen. "“Or Else Were this a Savage Spectacle”: the Narrative Possibilities of Spectacle in I Tamburlaine." Explorations in Renaissance Culture 46, no. 2 (December 18, 2020): 111–34. http://dx.doi.org/10.1163/23526963-46020002.

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Abstract This essay examines representations of violence in I Tamburlaine. In the play, Marlowe weds Tamburlaine’s desire for recognition to brutal spectacular violence and attunes audiences to the normative violence that recognition entails for the vulgar or common classes to which Tamburlaine, a poor Scythian shepherd, belongs. In a world that marks certain bodies, social classes and even names as unworthy of certain kinds of recognition, the creation of bloody spectacles, such as the slaughtering of the virgins of Damascus, becomes Tamburlaine’s only means to gain political visibility. By yoking Tamburlaine’s ascendance and eventual triumph to his increasingly effective use of spectacle, Marlowe’s I Tamburlaine makes a case for the narrative possibilities of spectacle to make a life like Tamburlaine’s both visible and compelling.

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2

Ward, Megan. "Walls and Cows: Social Media, Vigilante Vantage, and Political Discourse." Social Media + Society 6, no. 2 (April 2020): 205630512092851. http://dx.doi.org/10.1177/2056305120928513.

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Vigilante groups in the United States and India have used social media to distribute their content and publicize violent spectacles for political purposes. This essay will tackle the spectacle of vigilante lynchings, abduction, and threats as images of vigilante violence are spread online in support of specific candidates, state violences, and election discourse. It is important to understand the impact of not only these vigilante groups, but understand the communicative spectacle of their content. Using Leo R. Chavez’s understanding of early 2000s vigilante action as spectacle in service of social movements, this essay extends the analysis to modern vigilante violence online content used as dramatic political rhetoric in support of sitting administrations. Two case studies on modern vigilante violence provide insight into this phenomenon are as follows: (1) Vigilante nativist militia groups across the United States in support of border militarization have kidnapped migrants in the Southwest desert, documenting these incidents to show support for the Trump Administration and building of a border wall and (2) vigilante mobs in India have circulated videos and media documenting lynchings of so-called “cow killers”; these attacks target Muslims in the light of growing Hindu Nationalist sentiment and political movement in the country. Localized disinformation and personal video allow vigilante content to spread across social media to recruit members for militias, as well as incite quick acts of mob violence. Furthermore, these case studies display how the social media livestreams and video allow representations of violence to become attention-arresting visual acts of political discourse.

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3

Friis, Simone Molin. "‘Behead, burn, crucify, crush’: Theorizing the Islamic State’s public displays of violence." European Journal of International Relations 24, no. 2 (June 19, 2017): 243–67. http://dx.doi.org/10.1177/1354066117714416.

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The militant group known as the Islamic State has become notorious for its public displays of violence. Through slick high-definition videos showing beheadings, immolations and other forms of choreographed executions, the Islamic State has repeatedly captured the imagination of a global public and provoked vehement reactions. This article examines the Islamic State’s public displays of violence. Contrary to the public constitution of the Islamic State’s violence as an exceptional evil, the article argues that the group’s staging of killings and mutilations is not an unprecedented phenomenon, but a contemporary version of a distinct type of political violence that has been mobilized by various political agents throughout centuries. However, what is new and significant about the Islamic State’s choreographed executions is the public visibility of the acts and the global spectacle that the group has created. Thus, if the Islamic State is introducing a new dynamic in global politics, it is not a new form of violence or brutality, but rather a transformation of how spectacles of violence unfold on the global stage. Subsequently, the article highlights three dimensions of the Islamic State’s public displays of violence that have facilitated the creation of the global spectacle: the Islamic State’s technological skills and professional use of media ( technology); the Islamic State’s mobilization of acts of violence that transgress prevailing sensibilities ( transgression); and the violent acts’ function as not only a form of terror, but also an integral element of a state project and a visual manifestation of an alternative political order ( politics).

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4

FINBURGH, CLARE. "‘Violence without Violence’: Spectacle, War and Lola Arias'sMINEFIELD/CAMPO MINADO." Theatre Research International 42, no. 2 (July 2017): 163–78. http://dx.doi.org/10.1017/s0307883317000281.

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If spectacles are effects of power, designed to win wars, win elections and win customers, then how can these spectacles be better understood, so that we can better understand how they seek to work on us and others around us? And what part can theatre play in developing this understanding? In this article I explore Jean-Luc Nancy's notion of ‘violence without violence’, as set out in his essay ‘Image and Violence’ (2003). The synthesis of life's variety and disarray into an artwork is a violent act for Nancy. But if this violent act itself explodes the very seams which hold it together, it can enable ruptures or openings that prevent its violence from becoming ideologically oppressive. In this way the image inevitably participates in the ‘violence’ of representation, but simultaneously avoids the ‘violence’ of ideology. By way of an example I analyse the singular ways in which Lola Arias's productionMINEFIELD– first staged at the Brighton Festival in 2016 before transferring to the Royal Court Theatre during the London International Festival of Theatre (LIFT) – disarticulated the spectacles of power, heroism and virtuosity that are often weaponized by leaders and by the dominant media for the purposes of fighting and winning wars.

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5

Rothe, Dawn L., and Victoria E. Collins. "Consent and Consumption of Spectacle Power and Violence." Critical Sociology 44, no. 1 (December 24, 2015): 15–28. http://dx.doi.org/10.1177/0896920515621119.

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This article focuses on the facilitation, consent and consumption of state violence, as an aspect of the state’s hegemonic control in the current stage of neoliberal capitalism. We suggest that the commoditized symbols of state violence are a part of everyday life for millions within the United States and are embedded within ideologies of nationalism–national security, supported and reinforced through consumerism. The consumption (figuratively and literally) within the confines of neoliberalism is disconnected from the actual course of state violence, facilitating their own pacification while giving consent to hegemonic control. In this sense, the population’s consumption becomes more than pacification and consent, but rather an active constituent in the production and reproduction of state violence: making it the accepted and banal violence of the spectacle.

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6

Cino, Carina Sarah. "The Spectacle of Death." General: Brock University Undergraduate Journal of History 3 (December 18, 2018): 55–76. http://dx.doi.org/10.26522/gbuujh.v3i0.1689.

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This paper discusses death in Renaissance Europe as a specactle of public punishment. With particular focus on capital punishment in various cities in Italy, this paper argues that public executions were meant as a sign of state power, utilized to control the general public. The ways in which executions were used by both state and community are explored in depth, justifying the connection between power and public violence.

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7

Faber, Alyda. "Saint Orlan: Ritual As Violent Spectacle and Cultural Criticism." TDR/The Drama Review 46, no. 1 (March 2002): 85–92. http://dx.doi.org/10.1162/105420402753555868.

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The French performance artist's practice of self-directed violence creates a spectacle that violates the viewer and establishes Orlan's body as “a site of public debate.” Her work radically exposes the violence of patriarchically established “beauty standards.”

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8

Gori, Roland. "La violence technocratique de nos sociétés du spectacle." Le Journal des psychologues 387, no. 5 (April 22, 2021): 34–39. http://dx.doi.org/10.3917/jdp.387.0034.

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9

Puncer, Mojca. "Crisis, violence and hope in the global spectacle." Maska 31, no. 181 (December 1, 2016): 6–19. http://dx.doi.org/10.1386/maska.31.181-182.6_1.

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The analysis of selected works of the 56th Venice Biennale places these works in contemporary social reality and reflects on the importance of contemporary curating practices. The paper finds that the 56th Biennale has demonstrated a diminishing faith in progress and in the weakening emancipatory power of art. At the same time, it has also undermined the domination of the Western view because the exhibition began to open to non-European perspectives, too.

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10

Wright, M. "The Spectacle of Violence in Laylah Ali's: Greenheads." Nka Journal of Contemporary African Art 2001, no. 13-14 (March 1, 2001): 114–19. http://dx.doi.org/10.1215/10757163-13-14-1-114.

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11

Dubreuil, Clément, and Delphine Dion. "The spectacle of pain in the experience: A study in rugby stadiums." Recherche et Applications en Marketing (English Edition) 34, no. 4 (June 7, 2019): 29–49. http://dx.doi.org/10.1177/2051570719844683.

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This research focuses on understanding how the spectacle of pain contributes to the spectators’ experience. Based on an abductive approach and a 3-year mixed and longitudinal data collection in stadiums, this work identifies four functions of the pain spectacle and details its modalities and progressiveness. This research on rugby matches contributes to the literature on experience and pain. First, it deepens the understanding of the ambivalence of experiences. It shows that the negative dimensions of experience are valued by a moral and normative system. Second, this research contributes to a deeper understanding of the attractiveness of pain, by showing its association with symbolic content. Third, it introduces the concept of domesticating violence in the face of pain. The spectacle of a rugby match is part of nature/culture dialectic, with, on the one hand, a pseudo-primitive violence and, on the other hand, a sophisticated set of codes and rules. Recommendations for administrators and opportunities for future research are also presented.

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12

Hartsock, Nancy C. M. "Experience, Embodiment, and Epistemologies." Hypatia 21, no. 2 (2006): 178–83. http://dx.doi.org/10.1111/j.1527-2001.2006.tb01100.x.

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Gail Mason's Spectacle of Violence undertakes an important project in confronting a number of serious questions about definitions of violence and power, and about the nature of experience, subjectivity, and mind/body dualisms. Hartsock's comments on the book focus on issues of experience, embodiment, and standpoint theories.

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13

Kitts, Margo. "Ritual, Spectacle, and Menace." Journal of Religion and Violence 8, no. 2 (2020): 133–52. http://dx.doi.org/10.5840/jrv202092877.

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On the surface, comparative projects may seem frivolous, particularly those whose comparata are separated by millennia; this is especially true if one is attaching meaning simply to common event-sequences across time. However, for exploring the perceptual dynamics behind ancient reports of ritualized violence whose contexts and intended effects are somewhat elusive, a contemporary comparison may prove insightful. This should be true for rituals whose intent is menace, such as oath-making rituals and curses. Although we undoubtedly are missing much in the way of context and intended effects for ancient oath-making rituals, a close examination of one Islamic State (IS) “message” video of 2014 may enable us to envision some common perceptual dynamics. This short essay proposes to evaluate the persuasive effects of an ancient ritual in the light of a contemporary, by pondering embodied and visual modes of perception.

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14

Reyes, Danilo Andres. "The Spectacle of Violence in Duterte's “War on Drugs”." Journal of Current Southeast Asian Affairs 35, no. 3 (December 2016): 111–37. http://dx.doi.org/10.1177/186810341603500306.

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This article argues that, in Duterte's “war on drugs”, state power is exercised through the body in a spectacle of humiliation and violence. The analysis draws from the work of Foucault (1979) on the political value of a spectacle of the body to explain the distinctive character of Duterte's violent war on drugs; of Feldman (1991) on the use of the body as an object in which violence is embodied to send political messages; of Agamben (1995) on eliminating life supposedly devoid of value; and on Mumford et al. (2007), who pointed to the popularity of “violent ideological leaders.” I argue that, under the Duterte administration, criminals are humiliated and killed in a spectacle of violence that politicises their lives, sending a message that intimidates others. In the process, law-abiding citizens are meant to feel safe, which is seen as likely to increase the newly elected president's popularity and his power as chief executive. Duterte has thereby politicised life, not only putting criminals outside the benefit of state protection but actively targeting them. Duterte is the first mayor and president to have actively targeted criminals and, in doing so has encouraged other politicians to follow his example. The politicisation of the bodies of criminals is distinctive in Duterte's form of violence. This article is drawn from data sets of individual killings when Duterte was either serving as or acting behind the mayor of Davao, and compared with cases of drug-related killings since he became president on 30 June 2016.

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15

Stratton, Kimberly. "The Eschatological Arena: Reinscribing Roman Violence in Fantasies of the End Times." Biblical Interpretation 17, no. 1-2 (2009): 45–76. http://dx.doi.org/10.1163/156851508x383386.

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AbstractEschatological fantasies of divine judgment and retribution constitute a common feature of sacred literature and often serve to legitimate violence, both physical and rhetorical, against others. This paper examines allusions to Roman spectacles of violence—which operated part and parcel of imperialist strategies to dominate and intimidate subject populations—in descriptions of final judgment. It argues that these references constitute forms of colonial mimicry, which ambivalently appropriate Roman symbols of power for their own self fashioning. This process, however, is not uniform, but serves different purposes and strategies in different texts and contexts. This article explores examples of such mimicry and asks what it means for visions of the final judgment to reinscribe the very methods of domination that these fantasies seek to displace. Additionally, it considers the role of voyeurism implicit in public disciplinary displays and the implications that imagining eschatological justice as a blood spectacle has for theological conceptions of divine surveillance and control.

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Dubreuil, Clément, and Delphine Dion. "Le spectacle de la douleur dans l’expérience : une étude dans les stades de rugby." Recherche et Applications en Marketing (French Edition) 34, no. 4 (January 16, 2019): 31–51. http://dx.doi.org/10.1177/0767370118812559.

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Résumé Cette recherche s’attache à comprendre comment le spectacle de la douleur contribue à l’expérience des spectateurs. Reposant sur une approche abductive et une collecte de données mixte et longitudinale de trois ans dans les stades, ce travail identifie quatre fonctions du spectacle de la douleur, en détaille les modalités et la progressivité. Cette recherche sur les matchs de rugby contribue à la littérature sur l’expérience et sur la douleur. Premièrement, elle approfondit la compréhension de l’ambivalence des expériences. Elle montre que les dimensions négatives de l’expérience sont valorisées par un système moral et normatif. Deuxièmement, cette recherche contribue à approfondir les connaissances sur l’attrait de la douleur, en montrant son association à un contenu symbolique. Troisièmement, elle introduit le concept de domestication de la violence face à la douleur. Le spectacle de rugby s’inscrit dans une dialectique nature / culture, avec d’un côté une violence pseudo-primitive et de l’autre une sophistication de codes et de règles. Des recommandations managériales et des perspectives de recherche sont également présentées.

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17

Mason, Gail. "The Book at a Glance." Hypatia 21, no. 2 (2006): 174–77. http://dx.doi.org/10.1111/j.1527-2001.2006.tb01099.x.

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Violence is a spectacle. Not because it is simply something that we observe but, more fundamentally, because it is a mechanism through which we observe and define other things. Violence has the capacity to shape the ways that we see, and thereby come to know, these things. In other words, violence is more than a practice that acts upon the bodies of individual subjects to inflict harm and injury. It is, metaphorically speaking, also a way of looking at these subjects.

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18

Kaya, Şehriban. "Gender and violence: Rape as a spectacle on prime-time television." Social Science Information 58, no. 4 (October 29, 2019): 681–700. http://dx.doi.org/10.1177/0539018419883831.

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This article focuses on the representation of rape on prime-time Turkish television and its context, where the industry, marketing and politics intersect, to investigate how the representation of rape on television serials functions. Since 2010, the prime-time episodic television of Turkey has used images of beautiful young girls and women who have been raped as a motif. A large number of TV serials have featured male violence against women as a central narrative concern, while there has been a rising trend featuring female characters as victims of rape. Often an episode in a television serial that features the act of rape is the most-viewed one in the series. The eroticization of violence against women through rape and gang rape scenes demonstrates that media, especially television, plays a key role in the construction of a violent masculinity that works according to the motto ‘I hurt therefore I am’. However, the television serial that give rape a central place in their narrative open a new space for public discussion about rape and other issues related to violence against women, and could encourage public outcry and defeat the government’s proposals based on traditional norms unfavorable to victims of sexual violence. While this article accepts the potential of television serials in bringing about social change, it does not forget the function of television series as entertainment and their active role in strengthening hegemonic masculinity. This article aims to shed light on the complex relations between gender, violence and television, as well as how gender relations are reproduced at a time when politics, media and economy interact and interlace.

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19

Perris, Simon. "Perspectives on Violence in Euripides’ Bacchae." Mnemosyne 64, no. 1 (2011): 37–57. http://dx.doi.org/10.1163/156852511x505024.

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Abstract This paper examines the treatment of violence in Euripides’ Bacchae, particularly in spoken narrative. Bacchae is essentially a drama about violence, and the messenger-speeches establish a dialectic between spectacle and suffering as different conceptions of, and reactions to, violence. The ironic deployment of imagery and allusion, particularly concerning Pentheus’ body and head, presents violence as ambiguous. The exodos then provides a model of compassion, in which knowledge of guilt does not preclude sympathy, nor does ambivalence towards violence. Finally, it is concluded that the paradoxical humanitas of this Dionysiac tragedy is grounded in its presentation of violence as a source first of pleasure, then of pain, allowing spectators to be both entertained and shocked.

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20

Prado Cardoso, Eduardo. "Digital Spectacles of Violence: Film, TV and Social Media Entanglements in 2010’s Brazil." International Journal of Film and Media Arts 7, no. 2 (December 13, 2022): 31–52. http://dx.doi.org/10.24140/ijfma.v7.n2.02.

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The study of cultural industries, in particular the complex manifestations of spectacle, has produced valuable contributions that articulate capitalism, globalization and culture. The revisitation of this legacy, especially in dealing with Latin American phenomena, is this paper’s effort. Two case studies that took place in the 2010’s, in Brazil, underpin a reflection on mediated crimes in a digitalized, but still inequal society. The first tells of a prisoner’s self-recorded video, made in response to TV Globo’s news piece about a 2017 massacre; the second examines a reenactment of a 2000 crime that happened on the bridge Rio-Niterói in 2019, and referenced not only a real hijacking, but its film representations (Bus 174 and Last Stop 174). Invoking examples of exceptionality, the article aims at delineating how certain digital spectacles of violence can be understood as direct responses to cultural texts: even though practices of socialization via the internet pose questions of accelerated efficiency (in reaching wider audiences, and updating the meaning of live events), the social and aesthetic performances involving violence retrieve long-standing traditions created by modern institutions.

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21

Waldrep, Christopher. "Lynching and Spectacle: Witnessing Racial Violence in America, 1890–1940." American Nineteenth Century History 10, no. 3 (September 2009): 362–64. http://dx.doi.org/10.1080/14664650903169779.

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22

Andreasson, Jesper, and Thomas Johansson. "Negotiating violence: Mixed martial arts as a spectacle and sport." Sport in Society 22, no. 7 (October 23, 2018): 1183–97. http://dx.doi.org/10.1080/17430437.2018.1505868.

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23

Wahidin, Azrini. "Book Review: The Spectacle of Violence: Homophobia, Gender and Knowledge." International Review of Victimology 10, no. 2 (September 2003): 190–91. http://dx.doi.org/10.1177/026975800301000212.

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24

Gana, N. "Reel Violence: Paradise Now and the Collapse of the Spectacle." Comparative Studies of South Asia, Africa and the Middle East 28, no. 1 (January 1, 2008): 20–37. http://dx.doi.org/10.1215/1089201x-2007-053.

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25

Therrien, Ève Irène. "Le Corps sous le signe de la torture : une question de plaisir. Le Théâtre médical des Laboratoires Crête." L’Annuaire théâtral, no. 34 (May 6, 2010): 161–76. http://dx.doi.org/10.7202/041547ar.

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L’article propose d’analyser le premier spectacle des Laboratoires Crête, plus particulièrement le protocole intitulé : lien de causalité entre douleur physique et interprétation chez l’acteur en représentation. Le but de l’expérience de la douleur vise à enrichir le jeu de l’acteur. Pourtant l’essai démontre une dichotomie : l’hypersensibilité du corps du comédien ajoute à sa performance ou, au contraire, empêche l’interprétation du personnage. Dans le cadre des Laboratoires, violence et jeu sont à la base du spectacle. Aussi, le parallèle entre le sadomasochisme et le théâtre s’impose. L’article étudie la structure sadomasochiste, plus particulièrement la relation bourreau-victime et voyeur, pour mieux comprendre l’enjeu d’une telle épreuve théâtrale.

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26

Boczkowska, Kornelia. "The crime scene that never is, or how Echo plays with the forensic gaze." Short Film Studies 11, no. 1 (January 1, 2021): 107–12. http://dx.doi.org/10.1386/sfs_00041_1.

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Through reconstructing the crime scene, Echo undermines the omniscient power of the forensic gaze and problematizes the relationship between the image and haptic spectatorship. While eliminating the spectacle and affect, the camera intensely lingers on characters’ facial image to engage viewers in the voyeurism of an absent scene of violence.

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27

Birman, Patricia. "Spectacle de la violence et construction de la peur au Brésil." Chimères 51, no. 1 (2003): 69–81. http://dx.doi.org/10.3406/chime.2003.1656.

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28

Dasgupta, Shumona. "The spectacle of violence in Partition fiction: Women, voyeurs and witnesses." Journal of Postcolonial Writing 47, no. 1 (February 2011): 30–41. http://dx.doi.org/10.1080/17449855.2011.533952.

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29

Kędzierska, Aleksandra. "Violence as Spectacle: Happy Gothic in Ben Aaronovitch’s ”Rivers of London”." Lublin Studies in Modern Languages and Literature 43, no. 2 (July 3, 2019): 97. http://dx.doi.org/10.17951/lsmll.2019.43.2.97-108.

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<p>Discussing the specificity of the Gothic plot in Ben Aaronovitch’s <em>Rivers of London</em>, this study focuses on the theatricality of crime which, by blending violence and laughter, by transforming policemen into performers and criminals into artists, also highlights the fact that various methods of detecting and law enforcement have thespian roots.</p>

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30

Jackson, Nicholas A. "Neoliberalism as Spectacle: Economic Theory, Development and Corporate Exploitation." Human Geography 4, no. 3 (November 2011): 1–13. http://dx.doi.org/10.1177/194277861100400310.

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Neoclassical economics has been thought to be in some way separated from actually existing capitalism. This is true, as well, for neoliberalism, the current policy framework based on neoclassical economics. Some perspectives argue that neoliberalism is a global colonizer implanted in, and taking over, actually existing capitalism through institutions or imaginations. I argue instead that neoliberalism is spectacle (“the birth-to-presence of a form of being that pre-exists”) requiring continual expert intervention to bring to fruition. I first lay out some recent notions of neoliberalism as colonizer through institutions and imaginations. I argue that these approaches break down as the focus moves away from academic departments and research and high-level policy departments of international financial institutions (IFIs), to the practice of development, especially corporate exploitation. “Neoliberalism as spectacle” more effectively accounts for corporate strategies that are often at cross purposes with neoliberal representations, for example privileging instability and barely controlled violence as strategy. Second, neoliberalism as spectacle brings appropriate focus onto what Latour terms the “small networks” masked by “big explanations.” Third, neoliberalism as spectacle re-focuses attention on the backstage maneuvers that accompany neoliberal onstage representations. If neoliberalism is a spectacle, then transformation must concentrate not only on challenging neoliberal policies and rationales, but also the myriad other ways, distinct from neoliberalism, that exploitation is accomplished (perceptions, coercive and non-coercive compulsion, legal/lobbying, strategic organizational changes, etc.).

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31

Mason, Gail. "Fear and Hope: Author's Response." Hypatia 21, no. 2 (2006): 196–206. http://dx.doi.org/10.1111/j.1527-2001.2006.tb01102.x.

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This response seeks to pick up on the key questions and concerns raised by Nancy C. M. Hartsock and Karen Houle in their critiques of The Spectacle of Violence. I mold my response around two emotions that are never far from the question of violence: fear and hope. Is it fear of ambiguity that stops us from delicately blending the experiential with the discursive, the nodal with the circular, the corporeal with the epistemic, or the oppressive with the constitutive? If so, we can only hope that the power of such ambivalence lies in its ability to unsettle these treasured lines of force.

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32

James, Daniel, and Frank Graziano. "Divine Violence: Spectacle, Psychosexuality, and Radical Christianity in the Argentine "Dirty War."." American Historical Review 98, no. 1 (February 1993): 127. http://dx.doi.org/10.2307/2166390.

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33

Avellaneda, Andres, and Frank Graziano. "Divine Violence. Spectacle, Psychosexuality, and Radical Christianity in the Argentine "Dirty War"." MLN 109, no. 2 (March 1994): 337. http://dx.doi.org/10.2307/2904793.

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34

Munck, Ronaldo, and Frank Graziano. "Divine Violence. Spectacle, Psychosexuality, and Radical Christianity in the Argentine 'Dirty War'." Bulletin of Latin American Research 12, no. 1 (January 1993): 119. http://dx.doi.org/10.2307/3338826.

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35

Weddle, David L. "Divine Violence: Spectacle, Psychosexuality, & Radical Christianity in the Argentine "Dirty War"." Latin American Anthropology Review 6, no. 1 (March 1994): 51–52. http://dx.doi.org/10.1525/jlat.1994.6.1.51.

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36

Weddle, David L. "Divine Violence: Spectacle, Psychosexuality, & Radical Christianity in the Argentine “Dirty War”." Latin American Anthropology Review 6, no. 1 (June 28, 2008): 51–52. http://dx.doi.org/10.1525/jlca.1994.6.1.51.

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37

Aidoo, Richard. "Chinese labour in South Africa, 1902–10: Race, violence and global spectacle." African Affairs 114, no. 457 (August 17, 2015): 657–58. http://dx.doi.org/10.1093/afraf/adv046.

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38

Leu, Lorraine. "The press and the spectacle of violence in contemporary Rio de Janeiro." Journal of Latin American Cultural Studies 13, no. 3 (December 2004): 343–55. http://dx.doi.org/10.1080/1356932042000287062.

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MASON, GAIL. "SYMPOSIUM:THE SPECTACLE OF VIOLENCE: HOMOPHOBIA, GENDER, AND KNOWLEDGE:The Book at a Glance." Hypatia: A Journal of Feminist Philosophy 21, no. 2 (April 2006): 174–206. http://dx.doi.org/10.2979/hyp.2006.21.2.174.

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Hodges, Donald C., and Frank Graziano. "Divine Violence: Spectacle, Psychosexuality, and Radical Christianity in the Argentine "Dirty War."." Hispanic American Historical Review 73, no. 3 (August 1993): 513. http://dx.doi.org/10.2307/2517725.

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Hodges, Donald C. "Divine Violence: Spectacle, Psychosexuality, and Radical Christianity in the Argentine “Dirty War”." Hispanic American Historical Review 73, no. 3 (August 1, 1993): 513–14. http://dx.doi.org/10.1215/00182168-73.3.513.

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Price, Stuart. "The Event of Terrorism: Ambiguous Categories and Public Spectacle." Television & New Media 19, no. 2 (April 6, 2017): 163–69. http://dx.doi.org/10.1177/1527476417701995.

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This article examines the ways in which executive authority and media organizations categorize the spectacle of public violence and disaster, with particular reference to an event (the Germanwings crash in 2015) where large-scale fatalities were purposely caused. On occasions when a perpetrator commits multiple killings (acting impersonally but with “malice aforethought,” and usually against civilian victims), the immediate question appears to be whether or not the incident should be classified as a terrorist attack. This is especially the case during periods when mass or individual assaults are prominent in the public domain. The article examines the problems inherent in the uses of unstable or contested linguistic definitions, which typify the family of terms that include both the act of terrorizing individuals, groups, and wider polities, and the supposedly political practice known as terrorism.

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Gorup, Michael. "The Strange Fruit of the Tree of Liberty: Lynch Law and Popular Sovereignty in the United States." Perspectives on Politics 18, no. 3 (May 14, 2020): 819–34. http://dx.doi.org/10.1017/s1537592720001255.

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Lynch mobs regularly called on the language of popular sovereignty in their efforts to authorize lynchings, arguing that, as representatives of the people, they retained the right to wield public violence against persons they deemed beyond the protections of due process. Despite political theorists’ renewed interest in popular sovereignty, scholars have not accounted for this sordid history in their genealogies of modern democracy and popular constituent power. I remedy this omission, arguing that spectacle lynchings—ones that occurred in front of large crowds, sometimes numbering in the thousands—operated as public rituals of racialized people-making. In the wake of Reconstruction, when the boundaries of the polity were deeply contested, spectacle lynchings played a constitutive role in affirming and circulating the notion that the sovereign people were white, and that African Americans were their social subordinates.

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Detig, Cameron. "Slow Motion in the Age of Intensified Continuity." Film Matters 12, no. 1 (March 1, 2021): 7–16. http://dx.doi.org/10.1386/fm_00128_1.

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Using the lens of Bordwell’s intensified continuity, slow motion is a device that rose to prominence after the 1960s and has become a common part of modern film language. Slow motion has several canonized applications such as intensifying scenes of violence or spectacle, but there are also exemplary films that use slow motion to convey something unique. Technological developments throughout the decades have also made slow motion a powerful and more accessible tool.

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Swatie, Dr. "Biopolitical Bollywood: Sexual Violence as Cathartic Spectacle in Section 375 and Article 15." Iowa Journal of Cultural Studies 20 (June 9, 2020): 34–45. http://dx.doi.org/10.17077/2168-569x.1547.

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Palmer, Jack. "Book Review: Disposable Futures: The Seduction of Violence in the Age of Spectacle." Genocide Studies and Prevention 9, no. 3 (February 2016): 174–76. http://dx.doi.org/10.5038/1911-9933.9.3.1383.

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Adler, Jeffrey S. "Lynching and Spectacle: Witnessing Racial Violence in America, 1890-1940 (review)." Alabama Review 63, no. 4 (2010): 307–9. http://dx.doi.org/10.1353/ala.2010.0015.

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Berlanga Gayón, Mariana. "The Spectacle of Violence in Contemporary Mexico: From femicide to juvenicidio (young killing)." Athenea Digital. Revista de pensamiento e investigación social 15, no. 4 (December 31, 2015): 105. http://dx.doi.org/10.5565/rev/athenea.1556.

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Wagner, Kim A. "‘Calculated to Strike Terror’: The Amritsar Massacre and the Spectacle of Colonial Violence." Past & Present 233, no. 1 (November 2016): 185–225. http://dx.doi.org/10.1093/pastj/gtw037.

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Koch, Natalie. "Technologizing complacency: Spectacle, structural violence, and “living normally” in a resource-rich state." Political Geography 37 (November 2013): A1—A2. http://dx.doi.org/10.1016/j.polgeo.2012.05.006.

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