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Chapter 2 – Developing Visual Literacy
Photography in society
Chapter 2 – Developing Visual Literacy
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Recommended: Chapter 2 – Developing Visual Literacy
The second way in which Sontag contends that photographs alter our perspective is desensitizing by way of overexposure. She argues that constant exposure to graphic imagery has a numbing, anesthetizing effect on us. Sontag writes “Photographs shock insofar as they show something novel. Unfortunately, the ante keeps getting raised--- partly through the very proliferation of such images of horror.”, meaning that these images shock and horrify but also influence and foster an environment of depravity. Sontag later elaborates by saying, “To suffer is one thing; another thing is living with a photographic images of suffering, which does not necessarily strengthen conscience and the ability to be compassionate. It can also corrupt them”, she reiterates …show more content…
Sontag feels that photography endears itself to voyeurism, exploitation, and an imperceptible aggression. Sontag expresses this when she writes, “Still there's something predatory the act of taking a picture. To photograph people is to violate them, by seeing them as they never see themselves, by taking knowledge of them they can never have, it turns people into objects that can be symbolically possessed.”, here Sontag shines a light on the often invasive nature of photography. Capturing an image is a way of symbolically capturing a part of that person, which is forever frozen in that moment recorded on film. Sontag also argues that photographing an individual is a way of participating in that person's eventuality (death). She writes “To take a photograph is to participate in another person's or things mortality, vulnerability, mutability. Precisely by slicing out this moment and freezing it all photographs testify to time’s relentless melt.”, so essentially Sontag argues photographs serve as a physical reminder of the inevitable corrosion that time visits upon all things. To photograph a loved one, a pet, a cherished place or thing is an inadvertent reminder that, that person, place or thing will inevitably age, decay and cease to be. This appropriation is often done unintentionally but is appropriation nonetheless and aids in altering our outlook and
Having such an image before our eyes, often we fail to recognize the message it is trying to display from a certain point of view. Through Clark’s statement, it is evident that a photograph holds a graphic message, which mirrors the representation of our way of thinking with the world sights, which therefore engages other
Since its emergence over 30,000 years ago, one of visual art’s main purposes has been to act as an instrument of personal expression and catharsis. Through the mastery of paint, pencil, clay, and other mediums, artists can articulate and make sense of their current situation or past experiences, by portraying their complex, abstract emotions in a concrete form. The act of creation gives the artist a feeling of authority or control over these situations and emotions. Seen in the work of Michelangelo, Frida Kahlo, Jean Michel-Basquiat, and others, artists’ cathartic use of visual art is universal, giving it symbolic value in literature. In Natasha Trethewey's Native Guard, Kazuo Ishiguro’s Never Let Me Go, and Joseph Conrad’s Heart of Darkness,
In a society dominated by visual activity it is not uncommon to be faced with images
"Haunted by the power of images? I do feel that I go into madness and chaos. There's a journey of everything falling apart, even the meaning and the order that I can put on something by the writing." —Maxine Hong Kingston
People tend to views an image based on how society say it should be they tend to interpret the image on those assumption, but never their own assumptions. Susan Bordo and John Berger writes’ an argumentative essay in relation to how viewing images have an effect on the way we interpret images. Moreover, these arguments come into union to show what society plants into our minds acts itself out when viewing pictures. Both Susan Bordo and John Berger shows that based on assumptions this is what causes us to perceive an image in a certain way. Learning assumption plays into our everyday lives and both authors bring them into reality.
Camera Lucida was Roland Barthes’ last written piece, published posthumously in 1980. This book deals with the topic of photography and the death of Barthes’ mother in 1977. The role of photography is questioned; he asks what about photography makes it a valid media? We read about the operator (the photographer), spectrum (the subject) and spectator (the viewer), also about the studium (what we see in the photograph) and the punctum (the unclassifiable, the thing that makes the photograph important to the viewer). According to Barthes the photograph is an adventure for the viewer, but it is ultimately death, the recording of something that will be dead after the picture is taken. This idea is the main focus of Barthes’ writing, the photograph “that-has-been”, in Latin “interfuit: what I see has been here, in this place which extends between infinity and the subject; it has been here, and yet immediately separated; it has been absolutely, irref...
In the essay “Why We Take Pictures” by Susan Sontag, she argues that taking photos can be a tool of power and sometimes even a defense against anxiety(353). Taking pictures can be a great source of power, according to Sontag. The photographer has the power to show what they want and people can choose whether or not to be in the photo. Sontag uses the example of a family photo; as some family photos portray the family being happy, many people cannot see that the family might not actually be as happy as they look. Sontag also uses examples like nuclear families and traveling in order to enforce her claims about picture taking. In a nuclear family, Sontag believes that taking a picture of that family can help relieve some anxiety because people
While Conolly and Diamond argued for the use of photography to objectively represent the “general external character of mental suffering, or derangement of mind, and of structural changes
Though people can look into color and composition, others can still even look into the source of the art itself. Cole goes deeper, delving into the source of the art, looking in particular into the idea of cultural appropriation and the view a person can give others. Though it is good for people to be exposed to different opinions of a group or an object, sometimes people can find it difficult to tell the difference between the reality and the art itself. Sometimes art can be so powerful that its message stays and impacts its audience to the point where the viewer’s image of the subject of the art changes entirely. Cole brings up an important question about art, however. Art has become some kind of media for spreading awareness and even wisdom at times, but in reality, “there is also the question of what the photograph is for, what role it plays within the economic circulation of images” (973). Cole might even be implying that Nussbaum’s advertisement can sometimes be the point of some media, and that sometimes the different genres of art can just be to make someone with a particular interest happy. One more point that Cole makes is that “[a]rt is always difficult, but it is especially difficult when it comes to telling other people’s stories.” (974) Truthfully, awareness and other like-concepts are difficult to keep going when a person or a group is not directly involved.
In Chapter 15 of Rosemarie Garland-Thomson’s book, Staring: How We Look, Garland evaluates the good and bad kind of staring as well as how to promote a more beneficial staring experience. Cultural critic Susan Sontag, condemns the intense attraction to repulsive stares looking at other people’s suffering and how we respond to them when we do look. She explains that staring i...
... role in the process of critical thinking, how imagery whether through television, billboards, books or magazines has a profound impact on how we view the world and that we have been bombarded with images, whether positive or negative, to a point where we become oblivious to the underlying messages these images are conveying to us. They suggest that images define who we are and what we do, for example, a beautiful model wearing a designer pair of shoes in a magazine conveys to us that we too can be a beautiful, confident woman if only we had those shoes. Another example, on the negative slope of imagery is an advertisement for alcohol or cigarettes, these advertisements are designed to sell, and we are willing to buy. The editors make it clear that we need to be subjective when viewing these images, to go beyond the immediate and look for the underlying message.
Sontag, Susan. "Essay | Photography Enhances Our Understanding of the World." BookRags. BookRags. Web. 15 Apr. 2014.
“Recently, photography has become almost as widely practiced an amusement as sex and dancing, which means that, like every mass art form, photography is not practiced by most people as an art. It is mainly a social rite, a defense against anxiety, and a tool of power” (Sontag 8). After reading this quote in my head multiple times, I started to realize that people use it for different purposes. When I took a photography class in college, it was under the category “art.” Which made me think of it as a form of art, when there are so many other ways to view photography. Sontag changed my opinion about photography after further interpreting her quote because to have a camera in our hand, being able to capture the world through our lens is to have a tool of
The desire to stop time and preserve the way things were are the primary reasons why the majority of photography in the late nineteenth century focused on documenting dying traditions, practices, and ways of life...
Susan Sontag’s “The Imagination of Disaster” claims that sci-fi fiction films can give pleasure to the audience. Then, she gives the detail the type of pleasure that comes from sci-fi films can be the complicity with the abhorrence. It seems like the flow of an idea stressed on the ugly things that formed in the society that we can relate to or confront with. Therefore, the second claim is the aesthetic of the destruction; she also says that the disaster presented in the sci-fi film is one of the oldest subject of Art.