| Title | Date | Reference | Authors | Call # | ISSN | ||
|---|---|---|---|---|---|---|---|
| Refiguring possible futures: anthropology and creative practice for an uncertain world | 2025 | Visual anthropology 38 (1-2): 1-9 | *H6 [VISUAL-] | 1545-5920 | |||
| Computational polyphony and diffractive ethnography: an emergent set of methods for future-centred work in visual anthropology | 2025 | Visual anthropology 38 (1-2): 10-29 | *H6 [VISUAL-] | 1545-5920 | |||
| Visual design anthropology: filming in workshops | 2025 | Visual anthropology 38 (1-2): 49-66 | *H6 [VISUAL-] | 1545-5920 | |||
| Framing multipolar tourism: imaginaries, visualities and futures | 2025 | Visual anthropology 38 (1-2): 30-48 | *H6 [VISUAL-] | 1545-5920 | |||
| Envisioning the future: deaf forms of life and visual anthropology | 2025 | Visual anthropology 38 (1-2): 67-89 | *H6 [VISUAL-] | 1545-5920 | |||
| Animating the future: amplifyign youth voices through ethnographic animation | 2025 | Visual anthropology 38 (1-2): 90-108 | *H6 [VISUAL-] | 1545-5920 | |||
| Sisyphean existences in Surfing Soweto: train surfing as a late-Apartheid township subculture | 2025 | Visual anthropology 38 (1-2): 123-39 | *H6 [VISUAL-] | 1545-5920 | |||
| Can we believe our own eyes? Did the Greek invent the laptop? | 2025 | Visual anthropology 38 (1-2): 140-4 | *H6 [VISUAL-] | 1545-5920 | |||
| Sustainable tourism and digital technologies: the REMEMBER project and the virtual museum of the port of Ravenna | 2025 | Visual anthropology 38 (1-2): 109-22 | *H6 [VISUAL-] | 1545-5920 | |||
| Eleven hours and thirty-eight minutes: extraction, continuous filming and description | 2025 | Visual anthropology 38 (1-2): 145-52 | *H6 [VISUAL-] | 1545-5920 | |||
| Introduction | 2024 | Visual anthropology 37 (1): 1-18 | *H6 [VISUAL-] | 1545-5920 | |||
| The Syrian Archive Digital Memory Project: archiving as testimony, as evidence, as creative practice | 2024 | Visual anthropology 37 (1): 19-34 | *H6 [VISUAL-] | 1545-5920 | |||
| The beginning of an idea about an end: on digital, diasporic, Syrian archives | 2024 | Visual anthropology 37 (1): 35-55 | *H6 [VISUAL-] | 1545-5920 | |||
| The Tadamon massacre: archiving violence through the perpetrator's gaze | 2024 | Visual anthropology 37 (1): 56-73 | *H6 [VISUAL-] | 1545-5920 | |||
| Video archives of the Syrian revolution: a media experiment | 2024 | Visual anthropology 37 (1): 74-91 | *H6 [VISUAL-] | 1545-5920 | |||
| Afterword | 2024 | Visual anthropology 37 (1): 92-7 | *H6 [VISUAL-] | 1545-5920 | |||
| The first images of Korea in Spanish media: von Hesse-Warteg and Sanín Cano | 2024 | Visual anthropology 37 (2): 99-125 | *H6 [VISUAL-] | 1545-5920 | |||
| Visual community authoethnography and heritage: selected cairns in South Africa | 2024 | Visual anthropology 37 (2): 126-45 | *H6 [VISUAL-] | 1545-5920 | |||
| The crossover: integrating Indian sign language with mudras in an Indian classical dance performance creation | 2024 | Visual anthropology 37 (2): 146-65 | *H6 [VISUAL-] | 1545-5920 | |||
| Developing an artistic approach to ethnographic research | 2024 | Visual anthropology 37 (2): 166-83 | *H6 [VISUAL-] | 1545-5920 | |||
| Australian Aboriginals in the snow | 2024 | Visual anthropology 37 (2): 184-91 | *H6 [VISUAL-] | 1545-5920 | |||
| Contemporary ethnographic aesthetics: the TikTok turn | 2024 | Visual anthropology 37 (3): 195-211 | *H6 [VISUAL-] | 1545-5920 | |||
| The work of craft in the age of mechanical reproduction: the Lai Xá photography village in Vietnam | 2024 | Visual anthropology 37 (3): 212-36 | *H6 [VISUAL-] | 1545-5920 | |||
| Photographing the Igbo funeral: the materiality of its performance | 2024 | Visual anthropology 37 (3): 237-64 | *H6 [VISUAL-] | 1545-5920 | |||
| Photo George, in Douala: one of the earliest photo studios in Cameroon | 2024 | Visual anthropology 37 (3): 265-82 | *H6 [VISUAL-] | 1545-5920 | |||
| Epistemology of the ethnographic image: hybridizing genre in South Sudan's autobiographical cinema | 2024 | Visual anthropology 37 (3): 283-300 | *H6 [VISUAL-] | 1545-5920 | |||
| Into the twentieth century: science and entertainment, two realms apart? | 2024 | Visual anthropology 37 (4): 301-21 | *H6 [VISUAL-] | 1545-5920 | |||
| “The people’s Garibaldi”: twentieth-century politics of a Risorgimento icon | 2024 | Visual anthropology 37 (4): 322-53 | *H6 [VISUAL-] | 1545-5920 | |||
| The material politics of graffiti removal | 2024 | Visual anthropology 37 (4): 354-75 | *H6 [VISUAL-] | 1545-5920 | |||
| Botanizing the city of Kolkata: exploring the modern-day flâneuse and a refashioned mode of flânerie in Sujoy Ghosh’s Film Kahaani | 2024 | Visual anthropology 37 (4): 376-492 | *H6 [VISUAL-] | 1545-5920 | |||
| Islamic societies are encountering modernity: an introduction | 2024 | Visual anthropology 37 (5): 403-9 | *H6 [VISUAL-] | 1545-5920 | |||
| European erotica as house ornament in Safavid Iran | 2024 | Visual anthropology 37 (5): 410-37 | *H6 [VISUAL-] | 1545-5920 | |||
| Visual narratives of Islamic funerals practices in the late Ottoman empire and early Turkish Republic | 2024 | Visual anthropology 37 (5): 438-69 | *H6 [VISUAL-] | 1545-5920 | |||
| How Turkish artists negotiate non-belonging through a visual past perfect - a timely artwork analysis | 2024 | Visual anthropology 37 (5): 470-98 | *H6 [VISUAL-] | 1545-5920 | |||
| Sufi aesthetics and cinematic journeys: a close reading of Bab’Aziz: The Prince Who Contemplated His Soul | 2024 | Visual anthropology 37 (5): 499-516 | *H6 [VISUAL-] | 1545-5920 | |||
| Becoming visible withouth being seen in Turkey: evil eye and infant imagery on Instagram | 2024 | Visual anthropology 37 (5): 517-48 | *H6 [VISUAL-] | 1545-5920 | |||
| Introduction | 2023 | Visual anthropology 36 (1): 1-2 | *H6 [VISUAL-] | 1545-5920 | |||
| Visual and verbal semiotics in the Moscow-vs.-Paris Métro | 2023 | Visual anthropology 36 (1): 3-22 | *H6 [VISUAL-] | 1545-5920 | |||
| QR codes in Moscow sites: invisible visibility, or keeping pace with the changes? | 2023 | Visual anthropology 36 (1): 23-37 | *H6 [VISUAL-] | 1545-5920 | |||
| Memorial plaques in multimodal urban discourse: a visual narrative reflecting Moscow's glorious past | 2023 | Visual anthropology 36 (1): 38-53 | *H6 [VISUAL-] | 1545-5920 | |||
| City-to-resident communication: speaking with seniors and youth | 2023 | Visual anthropology 36 (1): 54-68 | *H6 [VISUAL-] | 1545-5920 | |||
| “Children of the Soil” to “Dark Wind”: nature, environment and climate in Indian films | 2023 | Visual anthropology 36 (1): 69-79 | *H6 [VISUAL-] | 1545-5920 | |||
| Ethnography and volumography: drawings of theory on the blackboard | 2023 | Visual anthropology 36 (2): 95-116 | *H6 [VISUAL-] | 1545-5920 | |||
| The male householder and the hypermasculine deity: Malayalam-language films based on the Sabarimala temple in Kerala | 2023 | Visual anthropology 36 (2): 117-41 | *H6 [VISUAL-] | 1545-5920 | |||
| Delinking "the gentleman's game": visual epistemic representations in the film Shabaash Mithu | 2023 | Visual anthropology 36 (2): 142-74 | *H6 [VISUAL-] | 1545-5920 | |||
| Photographic practices among Albanian families in Kosovo | 2023 | Visual anthropology 36 (2): 175-90 | *H6 [VISUAL-] | 1545-5920 | |||
| Amateur film, cultural memory and the visual legacy of the 1920 Inter-Tribal Indian Ceremonial | 2023 | Visual anthropology 36 (3): 201-28 | *H6 [VISUAL-] | 1545-5920 | |||
| Mumiani season: visual aspects of a south coast Kenyan rumor | 2023 | Visual anthropology 36 (3): 229-48 | *H6 [VISUAL-] | 1545-5920 | |||
| (In)visibility, mediated, and sporting perceptions: Bollywood, biopics, and the epistemic turn in Mary Kom | 2023 | Visual anthropology 36 (3): 249-79 | *H6 [VISUAL-] | 1545-5920 | |||
| A creative ethnography approach: reconstructing the socio-material remains of the ghost ships of Suva | 2023 | Visual anthropology 36 (3): 280-95 | *H6 [VISUAL-] | 1545-5920 |