Ahmet Atay, Professor, Department of Communication, College of Wooster 

Wednesday 14 December, 2022 at 5.30-7.00pm, G4, City Campus, University of Brighton.

Please note the date change.

Online via Zoom – joining instructions will be emailed.

As a media and cultural studies scholar, in this project I bring together different my interests in memory, visual culture, and diaspora studies. Hence, I focus on visualizing the colonial histories, diasporic past, and representation of postcolonial and diasporic dislocation, hybridity, memory, home, and belonging. In this larger project, I am also interested in diasporic queer experiences, histories, and memories. This project is about memory. It is about negotiating and making sense of intercultural, diasporic, and cosmopolitan memory. It is also about remembering the past, keeping it alive, and not letting it go. Hence, in this project, I focus on in-between experiences and remembering the past through the liminal spaces that we perpetually step in and out of as dislocated and planted bodies.


Methodologically, this research will work within critical and cultural methods. I will use a mixture of critical ethnography, oral histories, autoethnography, archival research, and visual and digital methodologies. This project will be a multi-year and multifaceted project.

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Our seminar series this year highlights work taking place in a new research area for the Centre for Memory, Narrative and Histories and focuses on global visual culture and its relationship with politics, history and cultural memory in the twentieth and twenty-first centuries. The seminar series brings together researchers exploring different methodological approaches to photography, film, the visual arts, and material culture to examine the social role and political relevance of images in everyday life. Through its different transdisciplinary topics and methodologies, the series draws attention to recurring themes around memory cultures and politics; decolonizing the photographic archive; popular images, overlooked traditions and alternative forms of art in relation to politics and life experience; histories of diaspora communities and identities; memories of conflict, trauma, resistance, political protest and activism; as well as spatial memories of the material environment.