10. Technical perspective:

The Rock Show. Available http://www.youtube.com/watch?v=z7hhDINyBP0&feature=player_embedded. February 28, 2011.

An example of low production values is the music video “The Rock Show” produced by Blink 182. The video was released in 2001; it was directed by The Malloys. It begins with the band taking a check for $500,000 for the video production to the bank. They decide to make the video themselves. They are filmed driving around Los Angeles.

Production values refer to the professionalism of a production. The band strategically wanted the video to have a low production value so they could use the production budget alternatively. Parts of the video appear to be recorded on a hand held video camera. There is no apparent script. They distribute money to people, throw it from the roof, and place it under vehicles windshield wiper blades; Cars and televisions are purchased and subsequently destroyed. Except for the few fisheye scenes of the band singing in a small red room, no location rental was needed. The band went out and asked everyday people to help them, so no hiring of actors was necessary. The video had very few visual effects; the fisheye lens was used continuously throughout the production. Although the video had low values, it effectively depicted young men being reckless and blowing a bunch of cash while having a great time.

1. Lester, Paul Martin. Visual Communication: Images with Messages (Belmont: Thompson Wadsworth, 2005)

9. Stereotype persistence in the media:

Wonderbra Ad. Available http://www.inboxity.com/view.asp?id=483&title=I-can%27t-cook.-Who-cares?-Wonderbra. February 28, 2011.

The media is a prominent force in shaping the world’s perceptions of gender, race, cultural norms and other stereotypes. Wonderbra, produced an ad clearly promoting female stereotypes. The advertisement shows an attractive woman, wearing their Wonderbra product; across her chest bold script reads, “I can’t cook. Who cares?”

The ad plays on the female domestic stereotype that women are supposed to be domestic servants.1 It speculates that all women know how to cook; if they are not Martha Stewart they are considered defective.  The message they want to convey is, wearing this bra will make your body attractive and miraculously diminish your flaws. This advertisement also assumes women are fulfilled by domestic life, to escape this realm you must be glamorous.

This advertisement is just one example of negative female stereotypes found in the media. The media has a powerful influence on society’s perception of women and how they view themselves.

1. Lester, Paul Martin. Visual Communication: Images with Messages (Belmont: Thompson Wadsworth, 2005), 99-101.

8. Advertising of Social Causes:

Unicef Every Child Needs a Family. Available http://creativecriminals.com/print/unicef-every-child-needs-a-family/. February 2, 2011.

This print ad is from the “Every Child Needs a Family” campaign by UNICEF. A toddler is shown in a store front holding male and female mannequins hands. This campaign was launched in effort to deinstitutionalize children and provide them with a family. They encouraged foster families to open their homes to children in need. UNICEF believes every child has the right to grow up in a family.

This advertisement uses emotional appeals to persuade audiences to rally behind their efforts.1  The ad aims to provoke emotions of charity, mercy, or humanity so an individual feels the need to act out of compassion. The emotional provoking image of this parentless child is the catalyst to bring about action. According to Aristotle’s definition of persuasion, this ad has ethos because UNICEF is a credible nonprofit group.1

            1. Lester, Paul Martin. Visual Communication: Images with Messages.
                        (Belmont: Thompson Wadsworth, 2005), 67-91.

7. Visual cues:

Depth Illusion. Available http://www.getty.edu/art/exhibitions/geometry/images/linear_perspective.jpg. February 28, 2011.

The brain responds effortlessly to four aspects of viewed images. These properties are color, form, depth, and movement. Using these visual cues a visual communicator can effectively design images that will have lasting impressions on their viewers.1

An image that exploits the visual que of depth is an optical illusion of a long pillared hallway. As humans we see in three dimensions. Because our eyes are set slightly apart, both eyes process a scene from two different perspectives. This disparity is responsible for the illusion of depth.1

The optic nerve in each eye intersects at the optic chiasma. These nerves are responsible for sending images through the brain which result in quick visual response times.1 Depth perception is needed not only for mobility, but allows humans to experience further dimension in their sight. This is particularly important for visual communicators to keep in mind when developing memorable images.

        1. Lester, Paul Martin. Visual Communication: Images with Messages (Belmont: Thompson Wadsworth, 2005), 32-49.

6. Media representations of sight:

 

Scent of a Woman. Available http://www.torrentsland.com/scent-of-a-woman-1992-dvdrip-eng-greenbud1969-torrent-t369636.html, February 28, 2011.

Al Pacino coined the phrase, "Hoo-haa!" in the film, Scent of a Woman (1992).1 His role as Lieutenant Colonel Frank Slade, landed him his first Oscar. His character was a blind man who had not adapted well to losing his sight. A young boy, Charlie is hired to help him while his daughter is out of town. Throughout the movie, Frank is seen with a glass of Jack Daniels in his hand. He uses drinking as an excuse to harass those around him and escape his disability. If it were not for Frank’s blindness his cruelty would not be tolerated. On the opposite side his blindness allows him to intrinsically read people and touch their lives. Frank was bitter because of his loss of sight, but underneath that layer was a kind heart.  He was able to help Charlie and become a role model to a young man who needed someone to look up to.1

It would be natural for an individual to become bitter over losing their site. Scent of a Woman depicts these emotions in their portrayal of Frank. Despite the rough edges he is independent, intelligent and driven.

1. Al Pacino, Scent of a Woman, DVD, directed by Martin Brest (1992; NYC: Universal, 1992).

5. Symbolic nature of light:

 

Adoration of the baby. Available www.oceanbridge.com, February 28,2011.

Worldwide, light is one of the oldest and most significant symbols. Many religious paintings disclose rich symbolism in their use of light. Gerrit van Honthorst’s painting, “Adoration of the baby” effectively demonstrates the use of light symbolism. The painting depicts Mary, Joseph and two small children admiring the baby Jesus. These four figures surround the divinely lit baby, slightly illuminating his viewers. The birth of Christ had been prophesied for many years before his birth. In a cultural perspective, his birth represents the light of understanding, brought into a world of darkness and ignorance.

The painting effectively communicates depth with its placement of light. The shadows fall on the viewers, yet their faces are lit with admiration. The placement of light in this painting effectively sets a mood of reverence and religious worship.1

         1. Lester, Paul Martin. Visual Communication: Images with Messages (Belmont: Thompson Wadsworth, 2005), 9-13.

4. An image that has shaped American culture:

Coca Cola. Available http://www.undergroundartproject.com/blog/2007/01/07/be-free-it-hurts-when-you-go-to-school-too-long/. February 14, 2011.

Coca Cola is one of the most recognizable products in the U.S. and around the world. The brand has become as American as apple pie and baseball. During WWII and the great depression, advertisements strategically solidified Coca Cola as a model of American ideals and values.1 To consume their product is to partake in the American way of life. Andy Warhol made his fame and fortune around painting objects revolved around American culture, including Coca Cola. He said, "What's great about this country is that America started the tradition where the richest consumers buy essentially the same things as the poorest. You can be watching TV and see Coca-Cola and you can know that the President drinks Coke, Liz Taylor drinks Coke, and just think, you can drink Coke too. A Coke is a Coke and no amount of money can get you a better Coke than the one the bum on the corner is drinking. All the Cokes are the same and all the Cokes are good. Liz Taylor knows it, the President knows it, the bum knows it, and you know it." 2

1. Atlantis. “Coca-Cola: The Real Thing.” Atlantis. http://madeinatlantis.com/popular_culture/features/cocacola.htm (accessed February 16, 2011.

2. PSFK Salon. “Warhol on Coca-Cola.” PSFK Salon. http://www.psfk.com/2010/11/warhol-on-   coca-cola-quote.html  (accessed February 14, 2011).

3. Gestalt principles images: Include two images that demonstrate selected principles

 

World Wildlife Fund. Available http://www.worldwildlife.org/home-full.html. February 28, 2011.

McDonald's Logo. Available http://engagesciences.com/blog/2011/01/28/mcdonalds-obesity-and-curation-of-the-social-web/mcdonalds-logo-608x468-6/. February 28, 2011.

Gestalt principles are visual perception theories developed by German psychologists in the early 1900’s. The famous phrase, “The whole is different from the sum of its parts” is often used to describe this set of theories.1 Therefore, combinations of sensations are used for visual perception, not single sensations to understand objects in our environment.

The Gestalt principle of symmetry is used in the McDonald’s golden arch logo. Both arches are equal in dimensions and a yellow color unifies the symbol. Good symmetry allows the viewer to see order in the structure. Without symmetry the viewer often searches for what is out of balance or what is wrong with the image. The simplicity and easy flow of its design has made it one of the most recognizable logos in the world.2

The Gestalt principle of closure is used in the World Wildlife Fund logo. The black and white panda illustrated in the logo does not have lines connecting the image; yet the view’s eye automatically closes them. Closure occurs by suggesting a visual connection between elements that do not unite; the whole is seen even when part of the image is absent.2

          1. Lester, Paul Martin. Visual Communication: Images with Messages (Belmont: Thompson Wadsworth, 2005), 51.         
          2. Tuck, Michael. “Gestalt Principles Applied in Design.” About.com.  http://desktoppub.about.com/gi/o.htm?zi=1/XJ&zTi=1&sdn=desktoppub&cdn=compute&tm=3&f=00&tt=14&bt=1&bts=1&zu=http%3A//sixrevisions.com/web_design/gestalt-principles-applied-in-design/ (accessed February 25, 2011).

2. Ways of Seeing: Evoluction or stasis? Representational relationships between men and women in art.

 

Adoration. Available http://themuseummumbai.com/Detail_des_shop.aspx, February 28, 2011.

Images of the female body are found everywhere. Women, often scantily dressed can be found on the cover of popular magazines or advertising the newest muscle car. The representational relationships between men and women in art are stasis throughout history. Women and their bodies are depicted as objects of sexual desire; men are depicted by the power he is capable of. In William Stang’s portrait titled, “Adoration” the nude female symbolizes ideal beauty. Each of the men are mere spectators; quietly judging her figure and offering her gifts. John Berger, author of “Ways of Seeing” describes the emerging theme of judging women in the painting, Judgment of Paris.1 Women become objects of beauty and the exquisite win the prize.

These judgments continue today. The media reinforces the importance of a woman’s beauty and figure as a gauge of a woman’s worth. Women are bombarded with the stereotype of what is considered beautiful. They compare themselves to these “standards” to compete for a man’s affection. This is evident in Berger’s description of women in relation to their selves. “The surveyor of woman in herself is male: the surveyed female. Thus she turns herself into an object-and most particularly an object of vision: a sight.”1


1. Berger, John, Ways of Seeing (London: British Broadcasting Corporation, 1973), 47-52.

1. Ways of Seeing: Consequences of photographing original art.

 

Marlboro Ad. Available http://www.somethingawful.com/. February 12, 2011.

Famous art pieces take on new meaning as they become the subject of advertisements, clothing or even movie scenes. With the invention of the camera, the ability to reproduce art naturally followed. Art that was once only visible in museums became available for view in the comfort of your own home. John Berger, author of “Ways of Seeing,” argues that the uniqueness of the original piece of art is lost.1

We live in a society of high production and mass consumption. The cheap print of the Mona Lisa you purchase today will become disposable in a few years. A masterpiece by Michelangelo becomes the subject of a second-rate Marlboro advertisement; turning a classic into a quick buck for the cigarette industry. This is a poignant consequence of photographing original art.

Photographs that mimic original art have become a money generated industry. Well known art has standing. Companies try to use this reputation in their advertisements to gleam off of that status; it is unfortunate to the artist who cannot defend their images.

Berger describes the consequences of using original art casually, “For the first time ever, images of art have become ephemeral, ubiquitous, insubstantial, available, valueless, free…If the new language of images were used differently, it would, through its use, confer a new kind of power.”1


 1. Berger, John, Ways of Seeing (London: British Broadcasting Corporation, 1973), 19-32.