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Practices of Looking: An Introduction to Visual Culture Paperback – Dec 15 2008
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This is that rarest of textbooks clear enough for undergraduates and challenging enough to use with graduate students. Simply the best introduction we have to the most important issues in thinking about the visual from an interdisciplinary perspective. This textbook is a comprehensive survey of theoretical, historical, social, and legal issues in visual culture. Well written and well argued, this textbook is suited for an introductory or a more advanced undergraduate course in visual culture or communication... I've used Practices of Looking before and my students loved it. Marina Levina, University of California, Berkeley Practices of Looking makes the subject matter and critical apparatus of visual culture studies accessible and clear. As a text, it communicates the complex ideas that animate the field without falling into jargon and murky writing. This is a book that respects the intelligence of its audience, which ranges from undergraduates just discovering visual culture to graduate students refining their own approaches to the visual universe. Bernard Herman, University of Delaware
About the Author
Marita Sturken is an Associate Professor of Culture and Communication, New York University. Lisa Cartwright is an Associate Professor of Communication, University of California, San Diego.
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Top Customer Reviews
I was forced to have a bad prof assign this book, but if you have a teacher who can properly help interpret the text, it's a really really great tool.
Not the book for 'fun' reading.
One has to wonder how efficient the brainwashing of the University student on writing really is?
Here we have two scholars (therefore two brains) who undoubtedly know what they are talking about, yet are so disorganized in the manipulation of their texts, it is an utter pain to read.
Heavy blocks of texts; words being define; then redefine; and then re-redefine again over pages, even chapters.
The Glossary plays ping-pong with the reader as the definitions are written with the very words which are in the glossary.
The title implies it will make the reader/student "Practice", yet it only focus on the theories without any suggestions or exercise opportunity to apply these of theories.
In the end, this books only seems to nourish the annoying prejudices against the art community as a world of snobs' head floating among carnival balloon concepts, and hiding themselves behind "Grand Vocabulaire" to justify how much they are "misunderstood".
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