9780822358077-0822358077-Shine: The Visual Economy of Light in African Diasporic Aesthetic Practice

Shine: The Visual Economy of Light in African Diasporic Aesthetic Practice

ISBN-13: 9780822358077
ISBN-10: 0822358077
Author: Krista A. Thompson
Publication date: 2015
Publisher: Duke University Press Books
Format: Paperback 368 pages
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Book details

ISBN-13: 9780822358077
ISBN-10: 0822358077
Author: Krista A. Thompson
Publication date: 2015
Publisher: Duke University Press Books
Format: Paperback 368 pages

Summary

Shine: The Visual Economy of Light in African Diasporic Aesthetic Practice (ISBN-13: 9780822358077 and ISBN-10: 0822358077), written by authors Krista A. Thompson, was published by Duke University Press Books in 2015. With an overall rating of 4.2 stars, it's a notable title among other History (Photography & Video, Criticism, Arts History & Criticism, History, Communication, Words, Language & Grammar , Communication & Media Studies, Social Sciences) books. You can easily purchase or rent Shine: The Visual Economy of Light in African Diasporic Aesthetic Practice (Paperback) from BooksRun, along with many other new and used History books and textbooks. And, if you're looking to sell your copy, our current buyback offer is $1.18.

Description

In Jamaican dancehalls competition for the video camera's light is stiff, so much so that dancers sometimes bleach their skin to enhance their visibility. In the Bahamas, tuxedoed students roll into prom in tricked-out sedans, staging grand red-carpet entrances that are designed to ensure they are seen being photographed. Throughout the United States and Jamaica friends pose in front of hand-painted backgrounds of Tupac, flashy cars, or brand-name products popularized in hip-hop culture in countless makeshift roadside photography studios. And visual artists such as Kehinde Wiley remix the aesthetic of Western artists with hip-hop culture in their portraiture. In Shine, Krista Thompson examines these and other photographic practices in the Caribbean and United States, arguing that performing for the camera is more important than the final image itself. For the members of these African diasporic communities, seeking out the camera's light—whether from a cell phone, Polaroid, or video camera—provides a means with which to represent themselves in the public sphere. The resulting images, Thompson argues, become their own forms of memory, modernity, value, and social status that allow for cultural formation within and between African diasporic communities.

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