15. Photographic portrayals of violence

General holstering gun after execution, Saigon,1968. Available at http://www.monroegallery.com/photographers/detail/id/826. April 28, 2011.

Eddie Adams was a famous photographer; he is commonly associated with his photographic portrayal of the Vietnam War. The photograph entitled, “General holstering gun after execution, Saigon,1968” depicts Saigon during the height of the Vietnam War. The appalling photograph, of the Chief of Police shooting a member of the Vietcong in the head, appeared immediately in newspapers and magazines world-wide.1

Considering the photograph depicts a dead victim of violence, some may accuse the photographer, in this case, Eddie Adams, of being insensitive.  The photographer applied categorical imperative; the brutality and causalities of war had to be photographed. Utilitarianism was also exercised in the decision to publish the photograph.2 Although the picture displays ethical transgressions, it has been widely credited with turning American attitudes against the Vietnam War. 

1 Margot Adler, “The Vietnam War, Through Eddie Adams’ Lens,” NPR.org, http://www.npr.org/templates/story/story.php?storyId=102112403 (accessed April 27, 2011).

 

2 Paul Martin Lester, Visual Communication: Images with Messages (Belmont: Thompson Wadsworth, 2005), 115-116.

14. My favorite animated TV show

The Simpsons. Available at http://www.deadline.com/2010/11/fox-renews-the-simpsons-for-23rd-season/. March 28, 2011.

Homer and Dr. Hibert. Available at http://simpsonsimages.tumblr.com/post/1158275236/huntingforwizards-asked-do-you-have-any-pictures. March 28, 2011.

Lisa meets the First Lady. Available at http://parman.blogspot.com/2010_03_01_archive.html. March 28, 2011.

“The Simpson’s” debuted in 1988 as thirty second segments on the short-lived “The Tracey Ullman Show,” and evolved into one of the most popular and long-running cartoon programs in television history.  “The Simpsons” is still going strong today. The show’s success can be attributed to the producer’s ability to understand the expectations of the audience and the culture that surrounds them. This understanding, combined with sarcasm, superior scripting, show themes, and old-school slapstick comedy is the secret of the show’s long term success. The show is purposefully “low budget” the characters are simple. Less time on graphics results in reduced costs and more time spent on the script. The show is intellectual, while remaining funny on all levels. Adult audiences are drawn to the social satire, while a more youthful audience enjoys Bart’s bad behavior and colorful animation. “The Simpsons” continue to entertain people across the globe, and show no signs of slowing down.1

1 Lester, Paul Martin. Visual Communication: Images with Messages (Belmont: Thompson Wadsworth, 2005), 200-204.

13. Informational graphics

Cancer survival graph. Available at http://www.edwardtufte.com/bboard/q-and-a-fetch-msg?msg_id=0000Jr. March 28, 2011.

The idea of information graphics is to visually explain a set of data. Linda Walsh describes a graph as a metaphor, “The line metaphor of a line graph encourages the viewer to think of the data as a continuous and changing event correlated to some factor, usually time.”1 The table-graphic above gives an idea of survival time gradients for each cancer listed, so the designers chose an appropriate format. The current diagram is full of overlapping points and crossing lines, making it visually confusing to the reader.

The diagram would be much more effective if the name of each type of cancer was also put on the right hand side, next to the 20-year relative mortality rate. This would make it easier to track the overlapping lines. Also, the lines used in the graph are the same weight as the lettering. If the lines were thinner and lighter, this visually would aid the reader in following the lines easily across the diagram. Left justifying the cancer titles on the right and left hand side would give the graph balance and unity. 

1 Linda Walsh, "Handbook of Visual Communication, Chapter 5:Graphics,"  http://infohost.nmt.edu/~crlanier/151/151ch5.html (accessed April 27, 2011).

12. Film titles/credits: Goldfinger

Goldfinger. Available at http://www.youtube.com/watch?v=QM6I6aVRjiU. March 28, 2011.

The title sequence for any new Bond film is almost as anticipated as the movie itself. While there have been some amazing examples over the years, the classic Goldfinger’s opening suits the film perfectly.  The background is black, gold painted women are seen throughout the sequence while a short film plays on the surface of the women’s bodies. The color of gold semiotically represents the villain, Auric Goldfinger’s obsession with gold and women. Not only do your visually experience the titles, but the music directly relates to the on-screen experience. “Goldfinger” sung by Shiley Bassey completes the sensorium of effects by creating a rhythm between what you hear and what you visually see. Opening title sequences set the mood for a film and this is no exception.1

 

1 Lester, Paul Martin. Visual Communication: Images with Messages (Belmont: Thompson Wadsworth, 2005),153.

11. Typography: Scriptina

Sciptina font. Available at http://www.bitstormweb.com/website-design/8-free-fantastic-fonts-for-web-print-design.html. March 28, 2011.

The script font family is based on the strokes of natural hand writing. Script can be compared to cursive writing as each letter flows to the next. It was developed in France in 1557; it was originally designed to mimic everyday handwriting, but is now primarily used for high-class documents.1 A beautiful example of a script font is scriptina. It is comprised of semi-connected cursive lettering. The cascading loops and curves offered in this font make it a great way to add a personal touch to designs. The curves and loops also add to the font’s rhythm. This font is seen commonly on invitations and logos. 

1 Lester, Paul Martin. Visual Communication: Images with Messages (Belmont: Thompson Wadsworth, 2005), 142.

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).