Newly Released Visual Sociology Books

This page is a a collaborative initiative between IVSA members to highlight recent books in the field of visual studies (members can submit works using the form at the bottom of this page).

Books here can either be explicitly moored in visual sociology and anthropology, be of interest for art historians, discuss journalism and media, debate interdisciplinary issues related to visual studies (broadly conceived), or focus on any topic, method, and theoretical perspective that could help visually engaged scholars in their research or teaching.

Books are presented by year (2018 onwards):

  • 2021

    • Viola Shafik (ed.), Documentary Filmmaking in the Middle East and North Africa, American University in Cairo Press.
    • Melissa S. Ragain, Domesticating the Invisible: Form and Environmental Anxiety in Postwar America, University of California Press.
    • Mark Wigley, Konrad Wachsmann’s Television: Post-architectural Transmissions, Sternberg.
    • Rebecca Peabody, Steven Nelson, and Dominic Thomas (eds.), Visualizing Empire: Africa, Europe, and the Politics of Representation, Getty.
    • Dieter Declercq, Satire, Comedy and Mental Health: Coping with the Limits of Critique, Emerald.
    • Ekky Imanjaya, Mujahid Film: Ismar Ismail, Kineforum-Storial.
    • Chihab El Khachab, Making Film in Egypt: How Labor, Technology, and Mediation Shape the Industry, American University in Cairo Press.
    • Marsha Kinder and Tara McPherson (eds.), Transmedia Frictions: The Digital, the Arts, and the Humanities, University of California Press.
    • Cameron Crookston (ed.), The Cultural Impact of RuPaul’s Drag Race, Intellect.
    • Lauren Steimer, Experts in Action: Transnational Hong Kong–Style Stunt Work and Performance, Duke University Press.
    • Larry Warsh (ed.), Futura-isms: Futura, Princeton University Press.
    • Raisa Adah Rexer, The Fallen Veil: A Literary and Cultural History of the Photographic Nude in Nineteenth-Century France, University of Pennsylvania Press.
    • Dora C. Y. Chin (ed.), Visualizing Dunhuang: The Lo Archive Photographs of the Mogao and Yulin Caves, Princeton University Press.
    • Francesco Sticchi, Mapping Precarity in Contemporary Cinema and Television: Chronotopes of Anxiety, Depression, Expulsion/Extinction, Palgrave.
    • Stefania Milan, Emiliano Treré and Silvia Masiero (eds.), COVID-19 from the Margins: Pandemic Invisibilities, Policies and Resistance in the Datafied Society, Institute of Network Cultures Press.

    • Peter Claver Fine, The Design of Race: How Visual Culture Shapes America, Bloomsbury.
    • Tomáš Dvořák and Jussi Parikka, Photography Off the Scale, Edinburgh University Press.
    • Lyndon Way, Analysing Politics and Protest in Digital Popular Culture: A multimodal approach, Sage.
    • Daniela Agostinho, Solveig Gade, Nanna Bonde Thylstrup and Kristin Veel (eds.), (W)archives: Archival Imaginaries, War, and Contemporary Art, Sternberg.
    • Pietari Kääpä and Tommy Gustafsson, The Politics of Nordsploitation: History, Industry, Audiences, Bloomsbury.
    • Adam Nocek, Molecular Capture: The Animation of Biology, University of Minnesota Press.
    • Paul Reilly, Digital Contention in a Divided Society: Social media, parades and protests in Northern Ireland, Manchester University Press.
    • Sharon Irish, Concerning Stephen Willats and the Social Function of Art: Experiments in Cybernetics and Society, Bloomsbury.
    • Eddie Chambers, World is Africa: Writings on Diaspora Art, Bloomsbury.
    • Pedram Dibazar, Urban and Visual Culture in Contemporary Iran: Non-visibility and the Politics of Everyday Presence, Bloomsbury.
    • Anandi Ramamurthy and Paul Kelemen, Struggling to be seen: The travails of Palestinian cinema, Daraja Press.
    • Edward Juler and Alistair Robinson, Post-Specimen Encounters Between Art, Science and Curating: Rethinking Art Practice and Objecthood through Scientific Collections, Intellect.
    • Petros Iosifidis, Nicholas Nicoli, Digital Democracy, Social Media and Disinformation, Routledge.
    • Mark Gallagher and Yiman Wang (eds.), Global East Asian Screen Cultures, Bloomsbury.
    • Sierra Rooney, Jennifer Wingate and Harriet F. Senie (eds.), Teachable Monuments: Using Public Art to Spark Dialogue and Confront Controversy, Bloomsbury.
    • Elena Stylianou and Evanthia Tselika, Contemporary Art from Cyprus: Politics, Identities, and Cultures across Borders, Bloomsbury.
  • 2020

    • Amy Cox Hall (ed.), The Camera as Actor : Photography and the Embodiment of Technology, Routledge.
    • Gary Bratchford and Denis Zuev, Visual Sociology: Practices and Politics in Contested Spaces, Springer.
    • Chris Ingraham, Gestures of Concern, Duke University Press.

    • Alfredo Cramerotti, Curating the Image. Notebook for a Visual Journey, Distanz.

    • John Beck and Ryan Bishop, Technocrats of the Imagination: Art, Technology, and the Military-Industrial Avant-Garde, Duke University Press.

    • Ceren Özpinar and Mary Kelly, Under the Skin: Feminist Art and Art Histories from the Middle East and North Africa Today, Oxford University Press.

    • Kalling Heck, After Authority: Global Art Cinema and Political Transition, Rutgers.

    • Morton Schoolman, A Democratic Enlightenment: The Reconciliation Image, Aesthetic Education, Possible Politics, Duke University Press.

    • Karen Strassler, Demanding Images: Democracy, Mediation, and the Image-Event in Indonesia, Duke University Press.

    • Michelle Shawn Smith, Photographic Returns: Racial Justice and the Time of Photography, Duke University Press.

    • Lee Wallace, Reattachment Theory: Queer Cinema of Remarriage, Duke University Press.

    • Jarrell A. Wadsworth, AFRICOBRA: Experimental Art toward a School of Thought, Duke University Press.

    • Shane Denson, Discorrelated Images, Duke University Press.

    • Allison Moore, Embodying Relation: Art Photography in Mali, Duke University Press.

    • Erica Fretwell, Sensory Experiments: Psychophysics, Race, and the Aesthetics of Feeling, Duke University Press.

    • Erin Y. Huang, Urban Horror: Neoliberal Post-Socialism and the Limits of Visibility, Duke University Press.

    • César Jiménez-Martínez, Media and the Image of the Nation during Brazil’s 2013 Protests, Palgrave.

    • Kim Knowles, Experimental Film and Photochemical Practices, Palgrave.

    • Gopalan Mullik, Explorations in Cinema through Classical Indian Theories: New Interpretations of Meaning, Aesthetics, and Art, Palgrave.

    • Angelica J. Huizar, Cosmos, Values, and Consciousness in Latin American Digital Culture, Palgrave.

    • Maud Ceuterick, Affirmative Aesthetics and Wilful Women: Gender, Space and Mobility in Contemporary Cinema, Palgrave.

    • Aida Vallejo & Ezra Winton (Eds.), Documentary Film Festivals Vol. 1 & 2, Palgrave.

    • Kevin Lewis O’Neill and Benjamin Fogarty-Valenzuela, Art of Captivity / Arte del Cautiverio, University of Toronto Press.

    • Rebecca Wanzo, The Content of Our Caricature: African American Comic Art and Political Belonging, NUY Press.

    • Elena Cordero-Hoyo and Begoña Soto-Vázquez, Women in Iberian Filmic Culture: A Feminist Approach to the Cinemas of Portugal and Spain, Intellect.

    • David Bate, Photography as Critical Practice: Notes on Otherness, Intellect.

    • Sarah Tremlett, The Poetics of Poetry Film: Film Poetry, Videopoetry, Lyric Voice, Reflection, Intellect.

    • Nathan Carroll (Ed.), The Cinematic Sublime: Negative Pleasures, Structuring Absences, Intellect.

    • Edward Juler and Alistair Robinson (Eds.), Post-Specimen Encounters Between Art, Science and Curating: Rethinking Art Practice and Objecthood through Scientific Collections, Intellect.

    • Elise Takehana, The Baroque Technotext: Literature in a Digital Mediascape, Intellect.

    • Trond Erik Bjorli and Kjetil Ansgar Jakobsen (eds.), Cosmopolitics of the Camera: Albert Kahn’s Archives of the Planet, Intellect.

    • Eric Lesdema (ed.), Fortunes of War: Photography as Alter Space, Intellect.
    • David Levi Strauss, Co-Illusion: Dispatches from the End of Communication, MIT Press.

    • David Campany, On photographs, MIT Press.

    • Paola Bonifazio, The Photoromance: A Feminist Reading of Popular Culture, MIT Press.

    • Sarah Miller, Documentary in Dispute: The Original Manuscript of Changing New York by Berenice Abbott and Elizabeth McCausland, MIT Press.

    • Annette Michelson, On the Wings of Hypothesis: Collected Writings on Soviet Cinema, MIT Press.

    • Alexis L. Boylan, Visual Culture, MIT Press.

    • Ben Burbridge, Photography After Capitalism, MIT Press.

    • Johanna Drucker, Visualization and Interpretation: Humanistic Approaches to Display, MIT Press.

    • Ksenia Fedorova, Tactics of Interfacing: Encoding Affect in Art and Technology, MIT Press.

    • Maria Hlavajova and Sven Lütticken (Eds.), Deserting from the Culture Wars, MIT Press.
    • Laurent Gervereau, Voir, comprendre, analyser les images (Seeing, understanding and analysing images), La Découverte.

    • Jean-Paul Colleyn, François Cheval, Catherine De Clippel Photographier les vodous : Togo-Bénin, 1988-2019 (Photographying Vodoos: Togo-Benin, 1988-2019), Editions MSH.

    • Heather Diack, Documents of doubt: The Photographic Conditions of Conceptual Art, University of Minnesota Press.

    • Titus O’Brien, Dreams Unreal: The Genesis of the Psychedelic Rock Poster, University of New Mexico Press.

    • Tina Campt, Marianne Hirsch, Gil Hochberg and Brian Wallis (Eds.), Imagining Everyday Life: Engagements with Vernacular Photography, Steidl Press.

    • Timm Rautert, Bildanalytische Photographie (Image-Analytical Photography), Steidl Press.

    • Darcy White and Chris Goldie (eds.), Proximity and Distance in Northern Landscape Photography: Contemporary Criticism, Curation, and Practice, Columbia University Press.

    • William A. Callahan, Sensible Politics: Visualizing International Relations, Oxford University Press.

    • Christopher Morton, The Anthropological Lens: Rethinking E. E. Evans-Pritchard, Oxford University Press.

    • Allissa V. Richardson, Bearing Witness While Black: African Americans, Smartphones, and the New Protest #Journalism, Oxford University Press.

    • Aga Skrodzka, Xiaoning Lu, and Katarzyna Marciniak (Eds.), The Oxford Handbook of Communist Visual Cultures, Oxford University Press.

    • Geetha Ramanathan, Kathleen Collins: The Black Essai Film, Edinburgh University Press.

    • Stuart Murray, Disability and the Posthuman: Bodies, Technology and Cultural Futures, Liverpool University Press.

    • Alice Wong (ed.), Disability Visibility: First-Person Stories from the Twenty-First Century, Vintage.

    • Tim Markham, Digital Life, Polity.

    • Nicole Hudgins, The Gender of Photography: How Masculine and Feminine Values Shaped the History of Nineteenth-Century Photography, Routledge.

    • Philip Vannini (ed.), The Routledge International Handbook of Ethnographic Film and Video, Routledge.

    • Tony Bennett and al. (eds.), The Australian Art Field: Practices, Policies, Institutions, Routledge.

    • Jillian Lerner, Experimental Self-Portraits in Early French Photography, Routledge.

    • Ernesto Capello, Julia B. Rosenbaum, Cartographic Expeditions and Visual Culture in the Nineteenth-Century Americas, Routledge.

    • Darren Newbury, Lorena Rizzo, Kylie Thomas, Women and Photography in Africa: Creative Practices and Feminist Challenges, Routledge.

    • Jilly Traganou, Design and Political Dissent: Spaces, Visuals, Materialities, Routledge.

    • Andrew Knight-Hill Sound and Image: Aesthetics and Practices, Routledge.

    • Harriet Hawkins, Geography, Art, Research: Artistic Research in the GeoHumanities, Routledge.

    • Sara Hillnhütter, Hybrid Photography: Intermedial Practice in Science and Humanities, Routledge.

    • Kris Belden-Adams, Eugenics, ‘Aristogenics’, Photography: Picturing Privilege, Routledge.

    • Vered Maimon, Contemporary Art, Photography, and the Politics of Citizenship, Routledge.

    • Luciano Cheles, Alessandro Giacone, The Political Portrait: Leadership, Image and Power, Routledge.

    • Nilanjana Mukherjee, Spatial Imaginings in the Age of Colonial Cartographic Reason: Maps, Landscapes, Travelogues in Britain and India, Routledge.

    • Rory Shand, The Creative Arts in Governance of Urban Renewal and Development, Routledge.

    • Larissa Hjorth, Adriana de Souza e Silva, Klare Lanson, The Routledge Companion to Mobile Media Art, Routledge.

    • Camille Baker, New Directions in Mobile Media and Performance, Routledge.

    • Erina Duganne, Heather Diack, Terri Weissman, Global Photography: A Critical History, Routledge.

    • Hongwei Bao, Queer China: Lesbian and Gay Literature and Visual Culture under Postsocialism, Routledge.

    • Sally Miller, Contemporary Photography and Theory: Concepts and Debates, Routledge.

    • Ruth Kinna, Gillian Whiteley, Cultures of Violence: Visual Arts and Political Violence, Routledge.

    • Anne Maxwell, Women Photographers of the Pacific World, 1857–1930, Routledge.

    • Aileen Blaney, Chinar Shar, Photography in India: From Archives to Contemporary Practice, Routledge.

    • Nicola Brandt, Landscapes between Then and Now: Recent Histories in Southern African Photography, Performance and Video Art, Routledge.

    • Melissa Miles, Edward Welch, Photography and Its Publics, Routledge.

    • Gil Pasternak, The Handbook of Photography Studies, Routledge.

    • Steve Presence, Mike Wayne, Jack Newsinger (Eds.), Contemporary Radical Film Culture: Networks, Organisations and Activists, Routledge.

    • Katherine Boydell, Applying Body Mapping in Research: An Arts-Based Method, Routledge.

    • Adam Whybray, The Art of Czech Animation: A History of Political Dissent and Allegory, Bloomsbury.

    • Derek Murray, Mapplethorpe and the Flower: Radical Sexuality and the Limits of Control, Bloomsbury.

    • Tim Satterthwaite, Modernist Magazines and the Social Ideal, Bloomsbury.

    • Bernd Herzogenrath (ed.), Practical Aesthetics, Bloomsbury.

    • Gil Pasternak (ed.), Visioning Israel-Palestine: Encounters at the Cultural Boundaries of Conflict, Bloomsbury.

    • Samantha N. Sheppard, Sporting Blackness: Race, Embodiment, and Critical Muscle Memory on Screen, University of California Press.
    • Joseba Zulaika, Hellfire from Paradise Ranch: On the Front Lines of Drone Warfare, University of California Press.

    • John A. Crespi, Manhua Modernity: Chinese Culture and the Pictorial Turn, University of California Press.

    • Shana Klein, The Fruits of Empire: Art, Food, and the Politics of Race in the Age of American Expansion, University of California Press.

    • Asher Ghertner, Hudson McFann & Daniel M. Goldstein (Eds.), Futureproof: Security Aesthetics and the Management of Life, Duke University Press.
    • Heather A. Haveman, Magazines and the Making of America: Modernization, Community, and Print Culture, 1741–1860, Princeton University Press.

    • Gilles Vanderpooten, Imaginer le monde de demain : Le rôle positif des médias (Fantasising tomorrow’s world : the positive role of media), Actes Sud.

    • Kirsten Forkert & al., How media and conflicts make migrants, Manchester University Press.

    • Robert Jütte, The Jewish Body: A History, University of Pennsylvania Press.

    • Jessica Marie Johnson,  Wicked Flesh: Black Women, Intimacy, and Freedom in the Atlantic World, University of Pennsylvania Press.

    • Maha Bashri and Sameera Ahmed (eds.), Minority Women and Western Media: Challenging Representations and Articulating New Voices, Rowman & Littlefield.

    • Gaik Cheng Khoo, Thomas Barker, Mary Ainslie (Eds.), Southeast Asia on Screen: From Independence to Financial Crisis (1945-1998), Rowman & Littlefield.

    • Clancy Wilmott, Mobile Mapping: Space, Cartography and the Digital, Amsterdam University Press.

    • Martin Engebretsen, Helen Kennedy (eds.), Data Visualization in Society, Amsterdam University Press.
    • Alessandra Violi and al., Bodies of Stone in the Media, Visual Culture and the Arts, Amsterdam University Press.

    • Berenike Jung, The Invisibilities of Political Torture. The Presence of Absence in U.S. and Chilean Cinema and Television, Edinburgh University Press.

    • Thomas Austin & Angelos Koutsourakis (Eds.), Cinema of Crisis: Film and Contemporary Europe, Edinburgh University Press.

    • Agnieszka Piotrowska (Ed.), Creative Practice Research in the Age of Neoliberal Hopelessness, Edinburgh University Press.
    • Jerome Krase and Judith N. DeSena (eds.), Gentrification around the World, Volumes I and II, Palgrave.

    • Amanda C. Cote, Gaming Sexism: Gender and Identity in the Era of Casual Video Games, NYU Press.

    • Savannah Dodd, Ethics and Integrity in Visual Research Methods, Emerald.

    • Peter Snowdon, The People Are Not an Image: Vernacular Video After the Arab Spring, Verso.

    • André Rouillé, La photo numérique : une force néolibérale (Digital photography: a neoliberal force), L’échappée.

    • Stephanie Schwartz, Walker Evans: No Politics, University of Texas Press.

    • Svetlana Alpers, Walker Evans: Starting from Scratch, Princeton University Press.

    • Joyce Sebag and Jean-Pierre Durand, La Sociologie filmique : Théories et pratiques (Filmic sociology: theories and practices), CNRS Editions.

    • Jane Tormey and Gillian Whiteley, Art, Politics and the Pamphleteer, Bloomsbury.

    • Ralf Marsault, Faintly Falling, Distanz.

    • Ilisa Barbash, Molly Rogers, and Deborah Willis (eds.), To Make Their Own Way in the World: The Enduring Legacy of the Zealy Daguerreotypes, Aperture.

  • 2019

    • Allan Cooper, Patriarchy and the politics of beauty, Rowman and Littlefield.
    • Sharrell D. Luckett, African American Arts: Activism, Aesthetics, and Futurity, Rutgers.
    • Michel Pastoureau, Rouge : Histoire d’une couleur (Red: history of a colour), Seuil.

    • James H. McCommons, Camera Hunter: George Shiras III and the Birth of Wildlife Photography, University of New Mexico Press.

    • Timothy Hearsum, Affinities, University of New Mexico Press.

    • Ivone Margulies, In Person: Reenactment in Postwar and Contemporary Cinema, Oxford University Press.

    • Sophie Harman, Seeing Politics: Film, Visual Method, and International Relations, McGill University Press.

    • Liz Wells (Ed.), The Photography Cultures Reader: Representation, Agency and Identity, Routledge.

    • Anna Fox, Natasha Caruana (Eds.), Research in Photography: Behind the Image, Routledge.

    • Helen De Michiel, Patricia Rodden Zimmermann, Open Space New Media Documentary, Routledge.

    • Peter D. Osborne, Photography and the Contemporary Cultural Condition: Commemorating the Present, Routledge.

    • Alison Barnes, Creative Representations of Place, Routledge.

    • Mike Wayne, Marxism Goes to the Movies, Routledge.

    • Nancy Duxbury, W.F. Garrett-Petts, Alys Longley, Artistic Approaches to Cultural Mapping: Activating Imaginaries and Means of Knowing, Routledge.

    • Gabriel N. Gee, Alison Vogelaar, Changing Representations of Nature and the City: The 1960s-1970s and their Legacies, Routledge.

    • Kerstin Schankweiler, Verena Straub, Tobias Wendl, Image Testimonies: Witnessing in Times of Social Media, Routledge.

    • Roger Hallas, Documenting the Visual Arts, Routledge.

    • Lesley McFadyen, Dan Hicks, Archaeology and Photography: Time, Objectivity and Archive, Routledge.

    • Grant Scott, New Ways of Seeing: The Democratic Language of Photography, Routledge.

    • Mitja Velikonja, Post-Socialist Political Graffiti in the Balkans and Central Europe, Routledge.

    • Colin Sterling, Heritage, Photography, and the Affective Past, Routledge.

    • Michelle Langford, Allegory in Iranian Cinema: the Aesthetics of Poetry and Resistance, Bloomsbury.

    • Thomas Smits, The European Illustrated Press and the Emergence of a Transnational Visual Culture of the News, 1842-1870, Bloomsbury.

    • David Dupuis et Maddalena Canna (ed.), Images visionnaires (Visionary images), L’Herne.

    • Aidan McGarry and al. (Eds.), The Aesthetics of Global Protest, Amsterdam University Press.

    • Ann Elias, Coral Empire: Underwater Oceans, Colonial Tropics, Visual Modernity, Duke University Press.

    • Edna Barromi-Perlman, Photographs of Childhood and Parenting on Kibbutz: Collective Memories and Private Memorials, Vallentine Mitchell & Co.

    • Michael Gaudio, Sound, Image, Silence: Art and the Aural Imagination in the Atlantic World, University of Minnesota Press.

    • Jorge J. Santos, Jr., Graphic Memories of the Civil Rights Movement: Reframing History in Comics, University of Texas Press.

    • Rachel Weissbrod and Ayelet Kohn, Translating the Visual: A Multimodal Perspective, Routledge.

    • Angela J. Aguayo, Documentary Resistance: Social Change and Participatory Media, Oxford University Press.

    • Sebastian Meyer, Under Every Yard of Sky, RedHook.

    • Amit Pinchevski, Transmitted Wounds: Media and the Mediation of Trauma, Oxford University Press.

  • 2018

    • Lev Manovich, AI Aesthetics, Strelka Press.
    • Metahaven, Digital Tarkovsky, Strelka Press.

    • Roland Bleiker (ed.), Visual Global Politics, Routledge.

    • Michelle Henning, Photography: The Unfettered Image, Routledge.

    • Michael Shapiro, The Political Sublime, Duke University Press.

    • Lotte Philipsen, Rikke Schmidt Kjærgaard, The Aesthetics of Scientific Data Representation: More than Pretty Pictures, Routledge.

    • Stephanie Bunn, Anthropology and Beauty: From Aesthetics to Creativity, Routledge.

    • Peta Carlin, On Surface and Place: Between Architecture, Textiles and Photography, Routledge.

    • Cath Lambert, The Live Art of Sociology, Routledge.

    • Temenuga Trifonova, Contemporary Visual Culture and the Sublime, Routledge.

    • James Tweedie, Moving Pictures, Still Lives: Film, New Media, and the Late Twentieth Century, Oxford University Press.

    • Jonathan Ilan, The International Photojournalism Industry: Cultural Production and the Making and Selling of News Pictures, Routledge.

    • Geoff Dyer, The Street Philosophy of Garry Winogrand, University of Texas Press.

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