As Gaboury convincingly argues, computer graphics are mathematical and spatial objects first, that are then made visible; they are not inherently visual. Chapter four is the last chapter that looks at the proposed principals of visual theory, where the rest of the text either involves case studies or cultural intersections. There is a nice introduction to Saussure and the relationship between the sign, the signified and the signifier and the issue of denotation and connotation. What is also important here is to think about how the image positions the viewer in many ways, but particularly how it positions them as potentially ‘inside’ the image. Zombie and alien invasion films are often taken as metaphors for contemporary concerns: nuclear war, capitalist alienation.

It’s an excellent addition to the genre of film in which a working-class London neighbourhood is invaded by hostile outsiders (see also Attack the Block (“INNER CITY VERSUS OUTER SPACE”) and Cockneys versus Zombies (“This city ain’t big enough for the both of them! Whereas one of the reasons I so much enjoyed Andor, and Denis Villeneuve’s version of Dune, is that their VFX are somehow much more minimal.I went to the Whitechapel Gallery in London a week or so ago for the launch of the Cyberfeminism Index, and I read Legacy Russell’s Glitch Feminism: A Manifesto on a long train journey to Berlin a few days later. If “the urban is the embodiment of difference and the machinic production of difference ” (Simone 2022: 16), how are digital technologies entangled in the emergence of urban difference?

There’s a canoeing scene in which the figures in the kayak are splodges and the daisies next to them oddly large. They also depend on the pleasure, thrills, fascination, wonder, fear or revulsion of the person looking at the Images and then writing about them.

I can’t close without saying more about those visual effects, because they are both part of the film as it’s meant to be seen by us spectators – they visualise the near-future city of which the Kitchen is part – and also because onscreen digital images play a role in the film’s narrative.

I’ve been thinking quite a lot about geometric three-dimensional space and its organisation of the visual field recently, since so much digital imagery builds on that geometry; here is a visually compelling exhibition which for the most part (the Dutch canvas excepted, I think) works in very different spatial registers which seem to hold much greater potential for spatial and temporal multiplicity. In addition, the discussion of visual and digital technologies and their associated practices have been updated.With over 25,000 copies sold worldwide, Gillian Rose's book is the bestselling critical introduction to the study and analysis of visual culture. Content analysis: studies symbolic qualities of text; studies trends amongst collection of artifacts; looks for patterns; creates and analyzes coding system found is sample of artifacts. London’s existing built environment seems to have been intensified: the London Eye has been upgraded; the skyline has even more striking tall buildings; the Kitchen is a huge building over which drones hover and sweep.

And, as she repeatedly points out, it is impossible to spend too much time looking at the images you are going to interpret. Well, one thought is that there is one other recent proposal for a very large-scale urban redevelopment project which also promises to bring a green utopia to a dry land: Neom’s The Line.There are also many situations in which enormous care is taken to establish digital images as representational. That this is anything but the case is a good part of the reason why a book such is this is necessary. Culture has faced multiple definitions and different manifestations in respond to historical development of human living condition. From this perspective the book is an interesting inquiry into ways of seeing, with commentary on what visual methods work for each topic, rather than a text on methods. The new edition of Gillian Rose's bestselling critical introduction to the study and analysis of visual culture has been fully revised and updated.