Buchumschlag

Picturing the (Un)Dead in Beirut

Martyr posters are more than obituary images – they can act as visual politics. Focusing on Rabih Mroué's play How Nancy Wished That Everything Was an April Fool's Joke (2007), Agnes Rameder analyses how contemporary artists question and appropriate Lebanese martyr posters. By linking the posters fr...

Ausführliche Beschreibung

Gespeichert in:
1. Verfasser: Rameder, Agnes
Format: Online
Sprache:Englisch
Veröffentlicht: transcript Verlag 2025
Schlagworte:
Martyr
Lebanon
Contemporary Art
Visual Politics
Beirut
Culture
Art
Art History of the 21st Century
Visual Studies
Political Art
Art History of the 20th Century
Fine Arts
thema EDItEUR::A The Arts::AG The Arts: treatments and subjects::AGA History of art
thema EDItEUR::A The Arts::AB The arts: general topics::ABA Theory of art
thema EDItEUR::J Society and Social Sciences::JB Society and culture: general::JBC Cultural and media studies::JBCT Media studies
Online-Zugang:ONIX_20241218_9783839475393_55
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Zusammenfassung:Martyr posters are more than obituary images – they can act as visual politics. Focusing on Rabih Mroué's play How Nancy Wished That Everything Was an April Fool's Joke (2007), Agnes Rameder analyses how contemporary artists question and appropriate Lebanese martyr posters. By linking the posters from the Wars in Lebanon (1975-1990) to contemporary posters, she shows that these images continue to the present day, that martyrs are still created and that deaths, such as those who were killed in the explosion on 4 August 2020, are still visually remembered. This study does not focus on how such pictures are perceived by a Western audience but delves into the use and abuse of martyr posters that were intended to be shown to the Lebanese.

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