Act of Looking: Difference, Representation, and Male Gaze in Media

Gaze and it's effects on the viewer is the subject for this week's readings, with a link to the MissRepresentation film in regards to how women are treated. The reading explains gaze, stating it “helps to establish relationships of power...awarding more power to the person who is looking than the person who is the object of the look.” (111) Being the viewer of the image grants authority over that which they are looking at, but also gaze within an image creates situations of dominance

“There is a long tradition in art of understanding the female nude as the project and possession of the male artist. In these paintings, the women are posed as objects of an active or ‘male’ gaze, and their returning looks are more often downcast, indirect, or otherwise coded as passive.” (123-124)

1) The following Calvin Klein ad, a classic representation of male gaze in media, features three men fondling a nearly nude woman. In this image, male fantasies of domination are projected on to a passive female, successfully asserting the prominence of male perspective in our culture.

Figure 1, Calvin Klein jeans advertisement

Retrieved from: https://mahagha.wordpress.com/tag/advertising/

Please respond to at least one of any of the following questions regarding Figure 1:

• “In systems of representation, meaning is established through difference” (111).

Only the men in the image are wearing the advertised jeans. What do you believe is the implication/purpose of this “difference?” What do you have to say about the ad’s disparities in representation--there being 3 men and only 1 woman? Does this say something about the ad’s intended audience?

• “The act of looking is commonly regarded as awarding more power to the person who is looking than to the person who is the object of the look” (111).

Who are we forced to focus on in this image--the three male figures, or the single female figure? Who is “looking” and who is the “object of the look?” What do you think this aesthetic choice says about gender roles, power and representation? Feel free to also draw on past readings such as Bordo’s "The Empire of Images", discussions we have had in class and on the blog, and the documentary we watched, Miss Representation.

2) “In systems of representation, meaning is established through difference.”(pg. 111) Essentially everything we understand about representation comes from knowledge of one side and basing the other side on it's opposite (in the sense that we know what culture is because it is the opposite of nature, or what Eastern countries are like because they are the opposite of our own Western ideologies).

I would like you, the viewer, to consider the following picture.

Figure 2, Opposite Sides (Illustration by Malcolm Evans from http://www.evanscartoons.com/index.php)

From understanding only one side of the picture, we start to make generalized assumptions of the other side. These assumptions translate into stereotypes, and eventually, these become common ways of viewing these opposite side (here, “white” or western culture versus eastern culture). Instead of ask your opinion on this, I implore you to look over your initial thoughts on images of other countries, cultures, and people different from you (that I ask you put here). What are these thoughts and where do you think they stem from? (I am asking you to open up a bit and be honest about your own possible bias toward other cultures, and explore possibilities as to why and how to correct them)

Sturken, Marita, and Lisa Cartwright. “The Gaze and the Other.” Practices of Looking: An Introduction to Visual Culture. 2nd ed. Oxford: Oxford Univ., 2009. 111-120. Print.

Sturken, Marita, and Lisa Cartwright. “Gender and the Gaze.” 123-136 Practices of Looking: An Introduction to Visual Culture. 2nd ed. Oxford: Oxford Univ., 2009. 123-129. Print.

Realism in Images

A picture says a thousand words, but does Realism make the list? While photos are meant to portray unbiased truth, the myth of photographic truth still lingers in our culture today. Digital editing software allows normal photos to be altered in both positive and negative lights. According to the French theorist, Roland Barthes, “...myth is the hidden set of rules and conventions through which meanings, which are specific to certain groups, are made to seem universal and given for a whole society” (p.20).

Option 1: In Figure 1, Time magazine darkened the skin tone of then suspect, O.J. Simpson because of the “...historical convention of using darker skin tones to connote evil and to imply guilt” (p.25). At the time of the release of the Time magazine, Simpson wasn’t even on trial yet, and before he even had a fair chance, was viewed as a murderer because of his darkened skin tones, stereotyping him as a criminal. 

As a starting point, some of these questions may help you think about how color and digital editing affects our culture. Why do you think a world renowned magazine, such as Time, went to such lengths to darken Simpson’s skin tone? Do you believe the darker image makes him look like more of a criminal than that of the lighter image? Do you think American’s would have reacted more positively to Simpson had the original image (on Newsweek magazine) been placed on news stands? How do you think the colors affected readers of Time? If you saw this picture as an adult in 1994, would you view Simpson as a criminal? Why or why not?

Figure 1, Digital editing done by Time and real picture on Newsweek magazine

Retrieved from: http://jonmwessel.files.wordpress.com/2013/04/oj-simpson-time-magazine-cover-controversial-darkened1994.jpg?w=604

Option 2: "To explore the meaning of images is to recognize that they are produced within dynamics of social power and ideology. Ideologies are systems of belief that exist within all cultures. Images are an important means through which ideologies are produced and onto which ideologies are projected" (22-23). Looking back to last week, where we focused on how women are portrayed by the media, take a look at Figure 2, and apply this week's reading about images, ideology, and representation. Why is photoshop used to alter the appearance of models? What does it represent for companies, products, and society? This is a still taken from the below video, Figure 3, that goes through this process. What does this say about the ideology of our society?

Figure 2,  before and after photoshopping, still from video
Retrieved from: http://dslrs.net/dslr/dslr-photography/movie-shows-photoshop-body-retouching-taken-to-extreme/

Figure 3: Photoshop makes anything possible video

Retrieved from: http://www.youtube.com/watch?feature=player_embedded&v=cPnfjwKfkSk

"Image Authentication and Forensics | Fourandsix Technologies - Photo Tampering throughout History." Image Authentication and Forensics | Fourandsix Technologies - Photo Tampering throughout History. N.p., n.d. Web. 23 Feb. 2014. 

Sturken, Marita, and Lisa Cartwright. "Images, Power, and Politics." Practices of Looking: An Introduction to Visual Culture. 2nd ed. Oxford: Oxford Univ., 2009. 1-46. Print.

Women in the Media and Society

So this week we are reading “The Empire of Images in Our World of Bodies” by Susan Bordo and we are watching Miss Representation in class. Susan Bordo discusses how images and the media portray ideals for women and girls. Plastic surgery and age defying methods are a focus at the beginning, but then she transitions to gender differences for toys and videos by talking about her daughter. Miss Representation depicts how society sees women and how the media portrays them. For example, how men see woman in politics and how women feel the need to compete with other women.

For this blog posting we have two options for discussion:

Figure 1: Halle Berry - Catwoman.
Retrieved from: http://tytempletonart.wordpress.com/2011/02/07/the-top-ten-catwoman-actresses-2/

Option 1: Miss Representation talked about women in film and television. The point was made that there are very few women protagonists that are complex or have story lines void of love stories or involving any men sexually/romantically. An argument could be made that Catwoman is an example of such a woman protagonist. Not only are there few women protagonists, but also few producers, writers, and directors that are women in the industry. We propose that you find an example of a woman protagonist who is not what the film deems the “bangable” hero or the chick flick heroine. On the flip side, we propose that you find a blatant example of such a “bangable” hero or a classic chick flick heroine. Try to post a video, image, trailer, or movie poster that you can find with one these women and discuss how they are an example of one of these stereotypes or not.

Option 2: In “The Empire of Images in Our World of Bodies” by Susan Bordo, there is a point about gender and advertisements along with consumer items. If you ever walked into a toy store there is a girl aisle and a boy aisle. The only aisles that sometimes you can find gender neutral toys are the baby aisles. We would like it if you could find an advertisement that is gender neutral for toys or any other consumer item. Or find one that is so completely stereotypical, that it is very obvious. On the other hand, find a toy or an example from a store that is gender neutral as well. Think about Susan’s article and make argument about how this reflects and affects children in our society. Below we've included commercials that we found are very gender specific, along with one little girl's opinion about toys and gender.

Figure 2: Nerf Strike Commercial. 

Retrieved from: http://www.youtube.com/watch?v=ngjla695Ju0

Figure 3: Easy Bake Oven Commercial. 

Retrieve from: http://www.youtube.com/watch?v=lreImESlrG0

Figure 4: Riley on Marketing.

Retrieved: http://www.youtube.com/watch?v=-CU040Hqbas

For this weeks blog we’ve decided to put focus on the first essay.  I never really get a chance to talk to other classmates about interesting essay topics and what we plan on writing on so now I’ll do the most interesting thing i can.  I invite you all to engage in an open forum for so we can pick each other brains.  Now you don’t have to necessarily post your thesis statements however you could post your examples of visual rhetoric and say why you find it interesting (or uninteresting).  

Option 1:

Now because we’re allowed to write about anything, I’d assume anything we chose to write about for this essay is a personal choice and perhaps gives insight into who we are (to some extent).  And really, what I’m most personally interested in, is aesthetic.  So do you think your visual is aesthetically pleasing?  Why or why not?  Provide some analysis on colors used, typeface/font, shapes, etc.  There is much opportunity in this option to use what you know and the best part is, we get to see into the minds of other students which is rare for any class.

Option:2

The readings we've done in class have helped familiarize us with terminology and visual concepts. Many of these terms and techniques will be utilized in your first essays. As an alternative to going in depth into your essay's topic, cite and discuss a particular section of a reading (or an entire reading itself) and discuss why the reading helped you gain a stronger understanding of visual rhetoric. What did you consider to be very useful to you or excellent advice? What was confusing? Use this space to discuss any material you may not have understood or need some clarity with. How did having the student example essays help you think about your own essay? Was there anything these students did that you found to be effective?

A quick note from Dave to start things off:

Originally I was going to write about something different but instead I switched it to the subject of music videos, specifically one of my favorite ones.  Music videos are hard for me to write about because I wear my biases on my sleeve and of course the song is capable into persuading you to like any accompanying visuals regardless of what they are.  However I’ll apply a trick I learned from a film class and watch the video with sound and then without it. This video is more aesthetic with sound than without it.

 http://www.youtube.com/watch?v=10oBReNHcEA

Applying Scott McCloud's "Show & Tell" to a Modern Image.

Applying Scott McCloud's "Show & Tell" to a Modern Image.

In the provided reading this week, Scott McCloud uses comic form to utilize both pictures and words, explaining the importance of the integration of the two alongside one another, but also showing the power that comes from separating the two. McCloud explains that there can be playful competition in images that combine both words and picture, but that this can "subvert the overall goals".

The first figure below is of Julian Assange, the WikiLeaks founder. (Image from www.bloggingthenebula.com/wp-content/uploads/2013/04/britain-ignored-lawyers-advice-in-threatening-ecuador-over-julian-assange-e1345344103171-640x360.png )

The second figure is some basic generated text, stating "Freedom Of Speech". Retrieved/generated from/at from www.pixlr.com

The third figure an image we generated combining the Assange image and the "Freedom Of Speech" text. Retrieved/generated from/at www.pixlr.com

All three are very powerful forms of visual rhetoric, each with their own direct messages.

                                         FIGURE 1

                                          FIGURE 2

                                          FIGURE 3

Practicing Analysis of Visual Rhetoric: Ramiro Gomez's "Happy Hills"

This week we will read communication scholar Sonja Foss' "Theory of Visual Rhetoric." In this chapter, Foss argues that the term "visual rhetoric" can describe both a communicative artifact and an approach to analyzing an artifact. To jump-start this week's blog discussion, I will present an example of visual rhetoric and ask that you apply what we have learned about visual rhetorical strategies (including classical rhetorical appeals and Gerrard and Durkin's definitions of composition, shape/size, line, and color) to analyze this example.

The Artifact
Artist Ramiro Gomez’s series “Happy Hills” is a powerful example of visual rhetoric. This series includes acrylic paintings of domestic workers and day laborers applied to advertisements that represent luxury homes.


Figure 1: Portrait of an Affluent Family by Ramiro Gomez. Retrieved from: http://ramirogomezjr.blogspot.com/

Figure 2: Lightness and Heaviness by Ramiro Gomez. Retrieved from Policy Mic.

According to Sonja Foss' definition, Gomez’s adaptations of luxury magazine ads are examples of visual rhetoric because each piece

1) is symbolic (i.e., he uses acrylic paint and magazine images to represent people and ideas),

2) involves human intervention (i.e., Gomez is a human artist who made these pieces), and

3) is presented to an audience via the media, gallery exhibitions and Gomez’s blog (Foss 144). I first encountered Gomez’s work when a friend shared Kinsey Lane Sullivan's interview with him on Policy Mic.

The Prompt 

Gomez uses visual elements (color, composition, shape & size, line, light, texture) and other rhetorical strategies to achieve a specific function. I ask that you look closely at Figures 1 and 2 from Gomez’s series. Then, choose 1 of those pieces to write about as you respond to these prompts.  

1. In his Policy Mic interview, Gomez explains his purpose: “I re-appropriate the advertisements with an intention to interrupt the underlying sales pitch. In the case of these luxury magazines, they consciously present an ideal environment unconsciously devoid of the people tasked with maintaining those environments” (qtd. in Sullivan). Gomez wants to make visible the often invisible people who make/keep those homes so pristine. While this is the artist’s stated intention, what is the actual “function” of the piece? What is the “action the image communicates” to viewers? What does it encourage viewers to do?
2. Identify at least 1-2 visual rhetorical strategies you see employed in this piece. Be sure to use terms from the reading and class discussions this week.

Welcome to the Visual Rhetoric course blog!

Hi there! This blog is a collaborative project that we sustain all semester as we try to figure out what "visual rhetoric" is and how we can better understand the "visual culture" in which we live. You will each have a turn to run this space by posting found images, contemporary case studies involving visual communication, and --of course-- your astute observations on the course readings that will delight the class and viewers around the world!



Image from the 42.395 Course Syllabus by Jenna Vinson