Full Description
Surveillance has become a part of everyday life: we are surrounded by surveillance technologies in news media, when we go down the street, in the movies, and even carry them in our own pockets in the form of smartphones. How are we constructing imaginaries of our realities and of ourselves as living in structures of control? What affects, emotions and feelings do we develop in societies of control, and how do we narrate them?
Media, Surveillance and Affect represents a big step in revealing the depth of the entanglement of surveillance technology not only with our everyday lives, but with our imaginaries and affective experiences. Combining insights from affect studies with narratological and visual cultural studies approaches, the case studies in this book focus on how surveillance cameras and surveillance camera images have been used to narrate affective stories of Great Britain. Cases discussed include the memory work surrounding the murder of James Bulger in 1993 and of Lee Rigby in 2011, but also novels and artworks.
With a multidisciplinary approach Media, Surveillance and Affect will appeal to students, scholars and specialists interested in fields such as media and cultural studies, literary studies, cultural sociology and surveillance studies.
Contents
INTRODUCTION: Feeling-States Under Surveillance
Media, Surveillance and Affect
Narrating with CCTV Images
1 AFFECTING FRAMES: Factual Narrative in the 'Zone of Mutual Mass Surveillance'
The News Values of CCTV Narrations
Seeing the Killing of Lee Rigby, 2013
CCTV in Contemporary News Media Events: An Aspect of 'Deep Mediatization'
2 FORESHADOWS: CCTV and Social Memory
CCTV Images as Media of Memory
Remembering Jamie Bulger in the Bootle Strand, 1993
Mediatized Memory on CCTV: Prosthesis and Projection
3 BEING CAPTURED: Tools of Surveillance as Tools of Fictional Becoming
Twenty-First Century British Fictions of Being Captured
Control and Care: Red Road (2006)
Hindered Agency in What Was Lost (2007)
Becoming Under Surveillant Gazes in Pigeon English (2011)
Twenty-First Century Feeling-States
4 CCTV ART: Playing with Surveillance Actor-Networks
Entanglements in the Video Surveillance Set-Up
Manu Luksch: Faceless (2007)
Jill Magid: Evidence Locker (2004)
Bringing Selves Towards Things
CONCLUSION: Surveillance as an 'Affective Arrangement' of Contemporary Lifeworlds
Surveillance and 'Deep Mediatization'
