Visual Representations of the Arctic: Imagining Shimmering Worlds in Culture, Literature and Politic

Note on TransliterationList of ContributorsRepresenting and Imagining the ArcticFrom Representations of the Arctic to the Worlds of the ArcticMapping and Gendering the Arctic VisuallyReferencesI: Visual Poetics and Historic CartographiesArctic Regions in Early Modern MapsRenaissance Cartography and Expansionist PoliciesMapping the Mythical ArcticVisualising Arctic ExplorationPicturing Trade, Entrepreneurship and Human–Animal RelationsConclusion: Three Maps – Three Representations of the ArcticNoteReferencesThe Arctic That Was: Visual Poetics, Historical Narrative and Ian McGuire’s The North WaterArctic Narratives: Fiction and RealityVisual Poetics and Realist NarrativeHuman Language and Non-Human NatureConclusion: The Arctic Then and NowNotesReferencesBalloon Explorers, the Panorama, and the Making of an Arctic Nomos in Contemporary FictionArctic Balloon Explorers in Future NarrativesThe Arctic as Subject to NomosPanorama as Literary Strategy: A Way of Structuring Knowledge and ControlViewing the Arctic from AboveAn Ethics of the LandViewing New York City from AboveConclusionNotesReferencesII: Mobile Visuality and Visual StorytellingThe Winners of the Globe?: The Russian Imperial Gaze at the North in Late Nineteenth-Century TraveloguesThe Russian Arctic Discourse and Travel WritingThe Travellers and Their Worldviews“The Samoyeds Will Get Interested in Politics and Champagne”The Empty Polar CanvasThe Traveller in the Timeless Northern LandscapeConclusionNotesReferencesDystopian Comics as Cautionary Tales about the Future of the ArcticSpace and Place in Comics StorytellingRepresenting Scale: Maps and Aerial ProjectionsFraming as a Device for Controlling SpacePage Layouts, Page-Turns, and Comics as a NetworkConclusionsNotesReferencesCome to Lapland!: Changes and Continuities of Lapland Imagery in Finnish and International Travel PostersNationalism, Capitalism, and Imagining a PlaceTravel Posters 1920–65: The Most Beautiful Lapland with Minor DiscomfortNorthern Lights and Shopping: Topics and Motifs in the Come to Lapland 2018 PostersOutdoor Activities and Sámi ExoticismTravel Posters, Cultural Capitalism and NostalgiaConclusionNotesReferencesCover Art and Content: Selling Arctic Crime FictionCrime Fiction as ExportSymbolismEuropean DomesticationStrategic Branding and ParatextReferencesIII: The Politics of Arctic VisualityCinema, Geopolitics, and Arctic Landscapes: The Cold Cold War in Orion’s BeltThe Arctic and the Cold WarOrion’s Belt and the Cold War ArcticOpaque Landscapes: Ice, Rocks, and Cold War ParanoiaTransnational Arctic Entanglements: From Aesthetics to Production and ReceptionConclusionNotesReferencesRed Arctic?: Affective Geopolitics and the 2007 Russian Flag-Planting Incident in the Central Arctic OceanImages and GeopoliticsQuiet and Loud Images: Flags and MapsOne Image, Three Affective Geopolitical StorylinesFear, Indeterminacy and Haunting ImagesNotesReferencesArctic Bodies: Sights/Sites of Necrocorporeality in Nordic Noir Television SeriesThe North as Death/Death in the North(Tele)Visualising the Arctic’s Dead: Midnight Sun, Trapped and FortitudeMidnight SunTrappedFortitudeConclusion: Necrocorporeal Cartographies of the Far NorthReferencesIV: Visual Worlds of the Russian ArcticThe Masculine North in Popular Russian Film: Territoriia as a Case StudyRe-production of the Arctic MythThe Landscape as a Powerful MediumThe “Masculine North”. “It is a place for muzhiks. For a strong organism.”Negotiated Masculinities – Realistic and MythologicalNostalgia – Remasculinization and the ArcticConclusionNotesFilmographyReferencesWomen Look North: Domesticities and the Sublime in Three Contemporary Russian ArtistsHow to Pack for the North: Marina Moskvina’s Mock-heroicEmpty Space and A Museum of the Past: Darya Prokovyeva’s IntaFantastic Kitchens of the North: Evgenia Arbugaeva’s Whimsical VernacularTowards a Conclusion: North Towards HomeNotesReferencesThe Arctic on Display: Museums, Art and Haptic Visuality of the NorthIntroduction: Theorizing Haptic Visuality of the NorthRussian Museums: In Perpetual FluxThe Arctic Museum: Haptic Visuality of the NorthConclusion: Re-Imaging the Arctic for the Digital AgeNotesReferencesV: Visual Documentation and EthnographyPlacing Oil Field in the Context of Ethnographic Films on the NorthTraditional Ethno-Cultural Communities in the Modern Russian North: Oil Field as a Documentary Film Case“Observing Camera”Off screenConclusionNotesReferencesGeo-Cultural Space of the Arctic: Landscape Visualization and Ontological Models of ImaginationVisualization of the Arctic: From Exoticism to Post-ExoticismNorth-Eastern Chukotka as a Testing Area of Geo-Cultural Field ResearchResearch Findings: Key Landscape Assemblages of North-Eastern ChukotkaDiscussion of the DispositivesBasic Visual Dispositives of North-Eastern ChukotkaVisual Dispositive of Sea HuntersThe Visual Dispositive of the Holidays of the Traditional Culture of Sea HuntersThe Visual Dispositive of Destruction and RuinConclusionNotesReferencesEnvisioning Digital Methods for Fieldwork in the ArcticTowards “Documentary Anthropology”The Evolution of Multimedial EthnographyIntroducing Digital Methods in Visual EthnographyDigital Annotations and Other Textual MetadataProcessing Photographs and Other ImagesProcessing Video RecordingsConclusionNotesReferences
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