Critically analyzing of visual media artifact investigates visual culture. An analysis entails image interpretation of image equally applicable to genres of photographs as form of advertisement. In this paper, I will critically examine photographs. According to Barrett (2011) he suggested that critic starts with description that involves developing a list of facts concerning the subject matter within the image. Description is a data gathering process of photograph (p. 17). It’s also establishing a typology of the photograph’s content matter. Similarly Bathes’ (1977) suggest that “all images are polysemous” (p. 38) because of the subject matter, hence creation of complexity for visual reader in making decision what aspect to read, pay attention or ignore of the photograph. The paper will discuss the wunderkammer series that contains nine photographs.
Wunderkammers series visually depict elementary school days while grew up of the United States region. The gallery showed titles of work in concert with their subject matter; scouting, space Age and little league. Both scouting and little league photographs contain objects and artifacts which describes United States Baby Boom of that time. Outdoor activities, toy airplanes, pocketknives and snapshots of fishing in conjunction with scouting activities, stamp collections and rock populate the both photographs. They constitute the popular pursuits for many children along America to engage in during the 1950s and 1960s. Such activities and similar others marked the establishment of United States childhood identity.
Wunderkammer space age represented different situation. A good number of United States children of the 1960s were all over the news of though the media to the nation’s race for ...
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...thnography. The images used in this are bringing about the meaning to its audience. The CVM is applied to interpret the images in both ethnographic and auto ethnographic techniques for better understanding. The drawbacks from the methodological design show the importance not only in photography, but also in communication, culture, education and media studies.
References
Barrett, T. (2011). Criticizing photographs: An introduction to understanding images(5thed.). New York: McGraw Hill.
Barthes, R. (1972). Mythologies(A. Lavers, Trans.). New York: Hill and Wang. (Original work published 1957).
Barthes, R. (1977). Image, music, text (S. Heath, Trans.). New York: Hill and Wang. (Original work published in 1964).
Barthes, R. (1980). Camera lucida: Reflections onphotography(R. Howard, Trans.). New York: Hill and Wang. (Original work published in 1980).
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
David, Adams Leening., ed. The World of Myths: An Anthology. New York: Oxford UP, 1990.
Harris, Stephen L., and Gloria Platzner. Classical Mythology: Images and Insights. 2nd ed. Mountain View: Mayfield, 1995
Morford, Mark P.O., and Robert J. Lenardon. Classical Mythology. '7th ed'. New York: Oxford University Press, 2003.
Rosenburg, Donna. World Mythology: An Anthology of the Great Myths and Epics. Third Edition. Chicago: NTC/Contemporary Publishing Group, Inc., 1999. Text.
Co. Herzberg, M. J. & Co., Ltd. (1984) The 'Standard' of the 'St Myths and their meanings. Boston: Allyn and Bacon. Rouse, W. H. (1957). The Species of the World The Heroes: The Heraclês.
Schaaf, Larry J. Out of the Shadows: Herschel, Talbot & the Invention of Photography. New Haven and London: Yale University Press. 1992.
Myths and Legends of the World. Ed. John M. Wickersham. New York: Macmillan Reference USA, 2000. Web.
Sproul, Barbara C.. Primal myths: creation myths around the world. New York: HarperCollins, 1991. Print.
Myths relate to events, conditions, and deeds of gods or superhuman beings that are outside ordinary human life and yet basics to it” ("Myth," 2012). Mythology is said to have two particular meanings, “the corpus of myths, and the study of the myths, of a particular area: Amerindian mythology, Egyptian mythology, and so on as well as the study of myth itself” ("Mythology," 1993). In contrast, while the term myth can be used in a variety of academic settings, its main purpose is to analyze different cultures and their ways of thinking. Within the academic setting, a myth is known as a fact and over time has been changed through the many different views within a society as an effort to answer the questions of human existence. The word myth in an academic context is used as “ancient narratives that attempt to answer the enduring and fundamental human questions: How did the universe and the world come to be? How did we come to be here? Who are we? What are our proper, necessary, or inescapable roles as we relate to one another and to the world at large? What should our values be? How should we behave? How should we not behave? What are the consequences of behaving and not behaving in such ways” (Leonard, 2004 p.1)? My definition of a myth is a collection of false ideas put together to create
My chosen methodology for analysis is semiology, Rose (2001) argues semiology confronts the problem of how images make meanings directly. It is not simply descriptive, as compositional interpretation does not appear to be, nor does it rely on quantitative estimations of significance, as content analysis at some level has to. Instead, semiology offers a wide range of analytical tools for depicting an image apart and tracing how it works in relation to broader systems of meaning. A semiological analysis entails the implementation of highly refined set of concepts, which construct detailed accounts of the particular ways the meanings of an image are produced through that image.
Moyers, Bill. 1999. "Of Myth and Men." Time. 26 Apr. Vol 153. Issue 16. p 90.
This book is a note written by Roland Barthes to record the dialectical way he thought about the eidos(form, essence, type, species) of Photographs. Roland Barthes was a French literary theorist, philosopher, linguist in his lifetime, but surprisingly he was not a photographer. As Barthes had a belief that art works consists with signs and structures, he had investigated semiotics and structuralism. However, through Camera Lucida, he realized the limitation of structuralism and the impression to analyze Photography with only semiotics and structuralism. Barthes concludes with talking about unclassifiable aspects of Photography. I could sense the direction Barthes wanted to go through the first chapter ‘Specialty of the Photograph’. He tried to define something by phenomenology
Campbell, Joseph, Mythic Worlds, Modern Words, (Edmund L. Epstein, ed.), Novato, California, Joseph Campbell Foundation - New World Library, 2003.
Women desire to become beautiful and powerful, even if they don’t say it in words. And the Photographer plays with that concept and creates that desire, that you can become that person you see in the photograph. And live that lifestyle. Photographers use techniques from the cinema/cinematic, to create the desire of viewers/Buyer/Consumers. The cinematic techniques made it possible the way people lived and the...