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PHOTOGRAPHIC TRUTH/MYTH OF PHOTOGRAPHIC TRUTH |
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Photographic Truth: “all camera-generated images . . . Bear the cultural legacy of still photography, which historically has been regarded as a more objective practice than say, painting or drawing.”
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Ideologies are defined as the broad but indispensable shared sets of values and beliefs through which individuals live out their complex relations in a range of social networks.
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CONNOTATIVE meaning of the image refers to culturally and historically specific meanings and its viewers’ lived felt knowledge of those circumstances – all that the image means to them personally and socially.
DENOTATIVE meaning of the image refers to its literal, explicit meaning
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a philosophy that emerged in the mid-nineteenth century; holds that scientific knowledge is the only authentic knowledge and concerns itself with truths about the world.
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| the way an image seems to call out, or address a viewer as an individual, Even though viewers know that images are being seen by many other people |
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HEGEMONY and COUNTER HEGEMONY
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HEGEMONY: is a state or condition of a culture arrived at through negotiations over meanings, laws, and social relationships . . . No one group of people “has” power; rather power is a relationship within which classes of people struggle. Term used by Antonio Gramsci (Italian Marxist philosopher writing in 1920s and 30s)
COUNTER HEGEMONY: the forces in a given society that work against dominant meaning and power systems and keep in constant tension and flux those dominant meanings
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Oppositional Reading / Oppositional Practices |
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OPPOSITIONAL READING: in Stuart Hall’s formulation of the potential positions for the viewer/ consumer of mass culture, the oppositional reading is one in which consumers fully reject the dominant meaning of a cultural product. This can take the form not only of disagreeing with the message but also of deliberately ignoring or even approaching and changing it.
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The Gaze: a term used to describe the relationship of looking in which the subject is caught up in dynamics of desire through trajectories of looking and being looked at among objects and other people.
Spectatorship: the practice of looking. To gaze is to enter into a relational activity of looking. The concept of the gaze plays a central role in theories of looking and spectatorship in modernity.
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| the philosophy of modernity was based on an ideal of the liberal human subject as a self-knowing unified, autonomous entity with individual human rights and freedom. |
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| A stage of development, according to psychoanalytic theorist Jacques Lacan, in which the infant first experiences a sense of alienation in its realization of its separation from other human beings. |
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the concept of panopticon is about how we participate in practices of self-regulation in response to systems of surveillance, whether they are in place or simply assumed to be in place.
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the opposition such as nature/culture, male/female, mind/body, and so forth.
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set of systems or mechanisms used to produce representations of objects in space as if seen by an observer through a window or frame.
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| refers to a set of conventions or a style of art or representation that is understood at a given historical moment to accurately represent nature or the real or to convey and interpret accurate or universal meanings about people, objects, and events in the world. |
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| The ideas and ways of ordering knowledge that are taken as true and accurate in a given era. (used by Michel Foucault in his book The Order of Things. Each period of history has a different episteme. For example the episteme of the classical period is different from the Episteme of the modern and postmodern periods. |
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is a simple device that is based on the phenomenon that light rays bounce off a well- lit object or scene, when passed into a darken chamber (a box or room) through a tiny object, create an inverted projection, which can be seen on a surface inside the chamber.
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PHOTO-CINEMATIC VISUAL TECHNOLOGIES
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Stereoscopes: the stereoscope was an instrument used in the nineteenth century that offered two separate views on the same scene arranged to replicate the positioning of the two eyes and then optically converged to simulate depth in the scene.
Zoetrope: projection machines variously called Zoetropes, Praxinoscopes, and Phenakistoscopes were designed on the model of the camera obscure (discussed in chapter 4) but included a kind of round drum that accommodated an interior light source. Inside the drum was placed a strip of photographs takes in a sequence.
Kinescope: Thomas Edison publicly displayed a device called the Kinescope, which individual viewers could stand before a peephole through which they could watch a projection of a short motion picture film.
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| a negative image, exposed directly onto a plate coated with silver halide. It is a single negative process, and prints cannot be made from the plate. Although the end result is a negative, the mirrored surface appeared as a positive when a dark background was reflected onto it. |
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| In photography, a term that comes from phenomenology, that refers to the quality of the photographic image to indicate a “that has been” status, which means that the power of the image from the fact that it existed in copresence with the camera. |
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COPYRIGHT AND BUNDLE OF RIGHTS
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Copyright: taken literally, means “the right to copy.” The term refers to not one but a bundle of rights.
This right is actually a bundle of rights including:
· - Distribution
- Production
- Copying
- Displaying
- Performing
- Creating
- Controlling derivative works based on the original
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AURA: (ACCORDING TO WALTER BENJAMIN) |
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according to Walter Benjamin, the aura of unique works gives them the quality of authenticity, which cannot be reproduced. Aura is not a quality the work materially holds but one that is imputed to the work by a culture that holds it in high regard.
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MASS CULTURE/MASS SOCIETY |
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emerging out of the 19th century’s industrial revolution and the movements of millions of people into urban areas, these terms refer to the culture and society of the general population, often with the negative connotation that it is homogenous and conformist group in media discourse.
- - Refers to working class people
- - People who were working in factories.
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| term that has been used since the 1920s to describe those media forms designed to reach large audiences perceived to have shared interest. |
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an entity that both creates and caters to mass public that, tragically, can no longer see the difference between the real world and the illusory world that these popular media forms collectively generate.
5 Key Themes in “THE CULTURE INDUSTRY: Enlightenment as Mass Deception”:
- Individuality compromised
- Increasing homogeneity of cultural products
- Culture Industry as Capitalist Ideology
- Relation between leisure/amusement and work
- The trajectory of the Culture Industry as Commodity (use value to exchange value)
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- Media that are transmitted from one central point to many different receiving points (early TV and Radio)
- Media that have a limited range through which to reach audiences and hence are capable of carrying programming tailored to audiences that are more specific than broadcast audiences. (cable TV on local channels)
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social space (which may be virtual) in which citizens come together to debate and discuss the pressing issues of their society. Concept has been critiqued for being too idealistic about who exactly constituted the public. |
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Originating with the nineteenth-century theories of Karl Marx and Friedrich Engels, Marxist theory combines political economy and social critique. Marxism is, on the one hand, a general theory of human history, in which the role of the economic and modes of production are the primary determining factors of history, and, on the other hand, a particular theory of the development, reproduction, and transformation of capitalism that identifies workers as the potential agents of history. Emphasizing the profound inequities that are necessary for capitalism to function, Marxist theory is used to understand the mechanisms of capitalism and the class relations within it.
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term used by Karl Marx to refer to the process by which commodities are emptied of the meaning of their production (how, who, why they were made) and filled instead with abstract meaning (usually through advertising).
- IT IS A PROCESS OF MYSTIFICATION
EG: Guess denim products no doubt produced for pennies somewhere in the world, comes to stand for free-spirited sexuality
- However, companies are increasingly being criticized for labor practices unacceptable to western standards. (Nike factory in Vietnam circa 1997)
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Term used by Pierre Bourdieu to refer to forms of cultural knowledge that give you special social advantages. He also talks about SOCIAL CAPITAL (who you know, your social networks and the opportunities they provide you), SYMBOLIC CAPITAL (prestige, celebrity, honor,) and CAPITAL |
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The naming and investment of meaning into companies or products in order to sell them as commodities.
- Often is a process that includes naming, packaging, advertising, and marketing.
- Sometimes the company is the brand (like Nike) not the particular product.
- Branding is associated with the concurrent trademarking and copyrighting as intellectual property all those aspects of design and marketing that constitute the brand.
- A brand is often a name we know about even if we don’t own or buy their products
- logos and repetitive visuals are crucial to branding (example iPod ads)
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a term used to capture life during a period marked by radical transformation of the social, economic, and political aspects of modernity, marked by flows of migration and global travel, the flow of information through the internet and new digital technologies, the dissolution of nation states in their traditional sovereign form in the wake of the collapse of the Soviet Union and the demise of the cold war, as well as the expansion of trade liberalization, and the increased divide between rich and poor.
- Mostly likely took place circa 1978-80 and afterwards…
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Terms used by French theorist Jean Baudrillard to refer to a sign that does not clearly have a real-life counterpart, referent, or precedent.
- - A simulacrum is not necessarily a representation of something else, and it may actually precede the thing it simulates in the real world. Baudrillard stated that to simulate a disease was to acquire its symptoms, thus making it difficult to distinguish between the simulation and the actual disease.
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A term coined by Jean Baudrillard that refers to a world in which codes of reality are used to simulate reality in cases where no referent exists in the real world.
- - Hyper reality is thus a simulation of reality in which various elements function to emphasize their “realness.” In postmodern style, hyperrealism can also refer to the use of naturalistic effects to give an advertisement, for instance, the look of a realist documentary—“natural” sound, jerky “amateur” camerawork, or unrehearsed nonactors, yet which is understood to be a construction of the real.
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A framework (also referred to as a meta-narrative that aims to comprehensively explain all aspects of society or world.
- A framework (also referred to as a metanarrative) that aims to comprehensively explain all aspects of a society or world. Examples of master narratives include religion, science, Marxism, psychoanalysis, and other theories that intend to explain all facets of life.
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The practice of making viewers aware of the material and technical means of production by featuring those aspects as the “content” of a cultural production.
- - Reflexivity is both a part of the tradition of modernism, with its emphasis on form and structure, and of postmodernism, with its array of intertextual references and ironic marking of the frame of the image and its status as a cultural product.
- - Reflexivity prevents viewers from being completely absorbed in the illusion of an experience of a fi lm or image, distancing viewers from that experience.
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| The referencing of one text within another. In popular culture, intertextuality refers to the incorporation of meanings of one text within another in a self-reflextive fashion. Eg. The Simpsons. |
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Cultural productions that make fun of more serious works through humor and satire while maintaining some of teir elements such as plot or character.
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