Today, bitch is one of the handiest words in the English language. It’s used to express a multitude of emotions – anger, horror, fear, frustration, despair, envy, resentment, shock, surprise, pain, and pity. But on the other hand, it can also express happiness, excitement, and endearment. Bitch is invoked to offend people, but also to compliment them, to complain, or to show camaraderie. Bitch is complicated. It can mean so many things at once, and yet, it has still retained its original humble meaning. It’s been quite a journey for “bitch.” But one thing’s for sure – bitch is still on its journey.

This chapter analyses the move of historians away from text and towards the interpretation of visuals. Starting with art history’s turn to the social and the cultural, it traces the interest of historians for an ever wider group of images, including popular images. It also highlights the emergence of perspectivalism and transdisciplinarity in the field of visual history. The main bulk of the chapter is taken up with presenting a range of examples showing how the visual turn in historical writing has contributed to deconstructing national identites, class identities and racial/ethnic identities. Ranging widely across different parts of the globe it also discusses the deconstruction of religious and gender identities through visual histories that have in total contributed much towards a much higher self-reflexivity among historians when it comes to the construction of collective identities through historical writing.