In No Caption Needed, Robert Hariman and John Louis Lucaites provide the definitive study of the iconic photograph as a dynamic form of public art. Their critical analyses of nine individual icons explore the photographs themselves and their subsequent circulation through an astonishing array of media, including stamps, posters, billboards, editorial cartoons, TV shows, Web pages, tattoos, and more. Iconic images are revealed as models of visual eloquence, signposts for collective memory, means of persuasion across the political spectrum, and a crucial resource for critical reflection.
Arguing against the conventional belief that visual images short-circuit rational deliberation and radical critique, Hariman and Lucaites make a bold case for the value of visual imagery in a liberal-democratic society. No Caption Needed is a compelling demonstration of photojournalism’s vital contribution to public life.
In this book, Robert Hariman demonstrates how matters of style—of diction, manners, sensibility, decor, and charisma—influence politics.
In critical studies of classic texts, Hariman identifies four dominant political styles. The realist style, as found in Machiavelli's The Prince, creates a world of sheer power, constant calculation, and emotional control; this style is the common sense of modern political science. The courtly style, depicted in Kapuscinski's The Emperor, is characterized by high decorousness, hierarchies, and fixation on the body of the sovereign; this style infuses mass media coverage of the American presidency. The republican style, reflected in Cicero's letters to Atticus, promotes the art of oratory, consensus, and civility; it informs our ideal of democratic conversation. The bureaucratic style, as captured in Kafka's The Castle, emphasizes institutional procedures, official character, and the priority of writing; this style structures everday life.
Hariman looks at effective political artistry in figures from antiquity to modern politicians such as Vaclav Havel, Ronald Reagan, and Bill Clinton. He discusses the crises to which each style is susceptible, as well as the social and moral consequences of each style's success.
Contemporary scholarship illustrates the law’s increasingly powerful role in American life; legal education, in turn, has focused on the problems and techniques of communication. This book addresses these interests through critical study of eight popular trials: the 17th-century trial of Dr. Henry Sacheverell, and the 20th-century trials of Scopes, the Rosenbergs, the Chicago Seven, the Catonsville Nine, John Hinckley, Claus von Bulow, and San Diego Mayor Larry Hedgecock. Such trials spark major public debates, become symbols of public life, and legitimize particular beliefs and institutions. Despite high visibility and drama, however, the popular trial has not received sufficient study as persuasive event. Lying at the intersection of the institutional practices of law and the mass media, the popular trial has confounded study according to the conventional assumptions of scholarship in both law and communication studies.
This volume defines popular trials as a genre of public communication, a genre that includes trials unusually prominent within public discourse. Further, popular trials are often characterize by special media presentations through televised coverage of the trial itself and news analysis, intense audience identification with the principal actors, and political and social consequences independent of the legal action. The essays in this volume stress the rhetorical functions of popular trials. Contributors in addition to the editor include Lawrance M. Bernabo, Barry Brummett, Celeste Michelle Condit, Juliet Dee, Susan J. Drucker, J. Justin Gustainis, Janice Platt Hunold, William Lewis, John Louis Lucaites, and Larry A. Williamson.
The end of the Cold War encourages new perspectives on international relations. Beer and Hariman provide a comprehensive set of essays that challenge and reinterpret the tradition of realism which has dominated the thinking of academics and foreign policy makers. Post-Realism: The Rhetorical Turn in International Relations systematically discusses the major realist writers of the Post-War era, the foundational concepts of international politics, and representative case studies of foreign policy discourse.
These essays demonstrate how realism operates rhetorically and point the way toward a richer understanding of world politics.
Essays in the The Prettier Doll focus on the same local controversy: in 2001,a third-grade girl in Colorado submitted an experiment to the school science fair. She asked 30 adults and 30 fifth-graders which of two Barbie dolls was prettier. One doll was black, the other white, and each wore a different colored dress. All of the adults picked the Barbie in the purple dress, while nearly all of the fifth graders picked the white Barbie. When the student’s experiment was banned an uproar resulted that spread to the national media. School board meetings and other public exchanges highlighted the potent intersection of local and national social concerns: education, censorship, science, racism, and tensions in foundation values such as liberty, democracy, and free speech.
For the authors of these essays, the exchanges that arose from “Barbiegate” illustrate vividly the role of rhetoric at the grassroots level, fundamental to civic judgment in a democratic state and at the core of “ordinary democracy.”
Even as the media environment has changed dramatically in recent years, one thing at least remains true: photographs are everywhere. From professional news photos to smartphone selfies, images have become part of the fabric of modern life. And that may be the problem. Even as photography bears witness, it provokes anxieties about fraudulent representation; even as it evokes compassion, it prompts anxieties about excessive exposure. Parents and pundits alike worry about the unprecedented media saturation that transforms society into an image world. And yet a great news photo can still stop us in our tracks, and the ever-expanding photographic archive documents an era of continuous change.
By confronting these conflicted reactions to photography, Robert Hariman and John Louis Lucaites make the case for a fundamental shift in understanding photography and public culture. In place of suspicions about the medium’s capacity for distraction, deception, and manipulation, they suggest how it can provide resources for democratic communication and thoughtful reflection about contemporary social problems.
The key to living well in the image world is to unlock photography from viewing habits that inhibit robust civic spectatorship. Through insightful interpretations of dozens of news images, The Public Image reveals how the artistry of the still image can inform, challenge, and guide reflection regarding endemic violence, environmental degradation, income inequity, and other chronic problems that will define the twenty-first century.
By shifting from conventional suspicions to a renewed encounter with the image, we are challenged to see more deeply on behalf of a richer life for all, and to acknowledge our obligations as spectators who are, crucially, also citizens.