Photojournalism

1)    Find a photojournalistic news story from any newspaper or magazine and answer the following questions:

a)    Why did you choose this news over others?

b)    Is the narrative component of the story necessary or is the picture enough to express the intended message of the news? 

c)   Did the picture and writings capture the “truth” of the event?

Answer:

Answer:

a) The reason why I choose this news over others because the incident of 'T-ARA bullying one of the member' had really been discussed and talked among K-pop fans all around the world. The incident occured have not been solved yet and left ambiguously. Some people still believe the rumour is true. The news written and the photo have not been truly proven yet but it's still been published everywhere on the internet. In addition, this type of news is inappropriate to be called as news. The headline and the picture used captured the eyes and attention to the viewers. 

Nowadays, images have been considered as rhetoric (Lucaites, 2001 as cited from Barthes; Mitchell). Visual truth is the number one content and purpose of photojournalism (Finkelstein, 2009).

T-ARA is one of the most popular girl group in the K-pop world. This news is a type of scandalous news which creates curiosity and doubt to people. Even other fandoms (fans of other celebrities apart from T-ARA) were willing to spend their time to read and comment on the article above. 

b) Yes, the narrative component of the story is necessary because the picture itself is not enough to intend the message of the news to the viewers. 

Photojournalism also makes stories and the narrative aspect gives an explanation about part of its power (Barnhurst, 1993). 

Photojournalists added people’s images into the news. Editors steps in by providing task and then selecting images that explains and constructs the news (Barnhurst, 1993 as cited from Gans, 1976; Gitlin, 1980).

c) No, the picture and the writings are not yet proven to be true. Both picture and writings of the news did not match with the truth of the event because the reality is that the girl behind did not break the umbrella of the girl standing in front of her which was being reported in the article above. 

Moving images support more understandable information than motionless images, unmoving photographs are unclear and not exactly known (Woo, 2010). 

“The individual aggregate is not unique to photography, of course, but it seems to fit comfortably within the conventions of photojournalistic practice that rely on realist assumptions of representation, even as they situate the viewer in an emotional register that activates the tension between private and public life” (Lucaites, 2001).  

The video below shows the whole story and the truth behind the incident. 

http://youtu.be/m60DnLHLxWg 


REFERENCES  

- Barnhurst, K.G. (1993). Journalism Educator. The First Exercise, What It Teaches About Photojournalism Practice, 48 (2), pp. 55-56. Accessed on November 5, 2012 from University Brunei Darussalam Ebrary Books Website.

- Finkelstein, D. (2009). Journalism Practice. Journalism Live Photojournalism, 3 (1), pp. 108-112. Accessed on November 5, 2012 from University Brunei Darussalam Ebrary Books Website.

- Lucaites, J.L. (2001). Rhetoric Review. Visual Rhetoric, Photojournalism and Democratic Public Culture, 20 (2), p. 37. Accessed on November 5, 2012 from University Brunei Darussalam Ebrary Books Website.

- Woo, C. W. H. (2010). Analyzing Visual Communication. Brunei Darussalam: University Brunei Darussalam.

 

Information Graphics

1. Look at the following information graphic broken down into a series of 4 images and answer the following questions:

The original photograph is called “Skull with cigarette, 2007” by Chris Jordan. It has a caption below the photogtaphs which reads: “Depicts 200,000 packs of cigarettes, equal to the number of Americans who die from cigarette smoking every six months”. Why didn’t the photographer just present the information in numbers? Why explain the statistics in graphical form? 

Answer:

Infographic may carry complicated messages strongly, clearly and straightforwardly (Woo, 2010).

A more modern meaning of graphic design comprises the art of communication to notify, teach, effect, convince and give a visual experience (Almeida, 2009, pg.15 as cited from Resnick, 2003).

Some studies state that extra additional graphic pictorial warning representation reinforce and support smokers’ plans to stop smoking (Kees, Burton, Andrews & Kozup, 2010).

Display would be more effective to persuade the viewers to watch and have an idea about the statistics shown rather than put it in numbers (Chua, Yates & Shah, 2006). Graphics are particularly powerful and working tools for risk communication such as those diagrams above. The statistics of applying graph is work and crucial in order for people to realize about the danger of smoking (Chua, Yates & Shah, 2006 as cited from Covello, Sandman & Siovic, 1988; Keeney & Von Winterfeldt, 1986). It has been predicted that the decisions made based on graphical presentation would be ok.

“Graphical risk displays induce significantly greater risk avoidance than do numerical displays which means the viewers were willing to pay significantly more when the chances of harm were displayed graphically than when they were displayed numerically” (Chua, Yates & Shah, 2006).

A research has found that information from graphical presentation is operated much quickly or easy to remembers than information from numerical presentation. In the process of automatic perception, people’s attention is captured first to the visual display. “Memory gives a window on cognitive representations of alternatives” (Chua, Yates & Shah, 2006 as cited from Jarvenpaa, 1990).

REFERENCES

-Almeida, C.D. (2009). Journal of Visual Literacy. The Rhetorical Genre in Graphic Design: Its Relationship to Design Authorship and Implications to Design Education, 28 (2), pp.186-198. Accessed on November 5, 2012 from University Brunei Darussalam Ebrary Books Website.

-Chua, H.F., Yates, J.F. & Shah, P. (2006). Memory & Cognition. Risk avoidance: Graphs versus Numbers, 34 (2), pp.399-410.Accessed on November 5, 2012 from University Brunei Darussalam Ebrary Books Website.

-Kees, J., Burton, S., Andrews, C.J & Kozup, J. (2010). Journal of Public Policy & Marketing. Understanding How Graphic Pictorial Warnings work on cigarette packaging, 29 (2), pp.265-276. Accessed on November 5, 2012 from University Brunei Darussalam Ebrary Books Website.

-Woo, C. W. H. (2010). Analyzing Visual Communication. Brunei Darussalam: University Brunei Darussalam.   
   

Games and Avatars in the Information Age

Question: Do you agree that you are cyborgian in nature?

Answer:

A cyborg is a combination of human body and electronic objects, where personality develops where the human mind is kept on computer software (Sunden, 2001). According to a cybernetics studies, the line limit between humans and machines tend to be nearly illogical. When human and machine mix, it is called a combination system. It is what cyborg is, half human and half machine.

Some people could assume a man who is blind walking using his cane is a cyborg (Warwick, 2003 as cited from Bateson, 1972) The cane is a substitute that help the blind man in aiding him to walk. A person who has hearing problem would also be considered as cyborg if he depends on hearing aid in order for him to hear clearly (Warwick, 2003).

Yes, I agree that we are cyborgian in nature because we are dependent on something else in order to fulfill the needs of ourselves. Nowadays, technology is the most important element (Woo, 2010). For example, students need laptops in storing their assignments because we cannot rely on our own memory.  People rely on Google in searching for information. 

Another example, human use aeroplane and other transports in order for them to go to any another places they desire. Without technology, everything seems to be impossible nowadays. 

People who have been diagnosed with a heart problem are given a pacemaker in order for their heart to function well. They rely on this small battery in order to carry on life because heart is one of the most important organ in human's body.

“Once you have a technology that enables you do a lot more, that empowers you, it is very difficult to do without it a later time” (Morris, 2009).

References:  

-Morris, K. (2009). The Lancet Neurology. I, cyborg, 1 (6), 391. Accessed on November 5, 2012 from University Brunei Darussalam Ebrary Books Website.


- Warwick, K. (2003). Ethics and Information Technology. Cyborgs morals, cyborg values, cyborg ethics, 5 (3), 131-137. Accessed on November 5, 2012 from University Brunei Darussalam Ebrary Books Website.   

- Sunden, J. (2001). Feminist media studies. What happen to difference in cyberspace? The (Re) turn of the she-cyborg, 1 (2), 215-232. Accessed on November 5, 2012 from University Brunei Darussalam Ebrary Books Website.

Cinema and Television

Question:  In your own words, answer today’s lecture question: What is cinema and television studies for?

Answer:

Cinema studies is created with the connection between Marxism, Feminism and modern French philosophy. Cinema and television studies are likeable figures and showed the ability to think and understand things (Starenko, 1998). People want to do all different types of tasks in film and television studies and does not support any orthodoxy (Welsh, 1989).

For example, Australian rural towns depend on cinemas and televisions where both play a crucial role in relation to their culture and social life. They are regarded as a place where society from remote areas can get together and communicate, help to solve disagreements between the society and promote a place of relaxation and peace (Aveyard, 2011). The different type of screen size along with the cinema’s components, attract audiences from all over the world. Cinema gives an idea about different cultures and places worldwide. (Aveyard, 2011).

Cinemas relate and bring society, culture, time and place together in a more broad way (Aveyard, 2011 as cited from Allen, 2006; Fuller-Seeley & Potamanios, 2008). It has been argued that by linking with other people’s concerns and thoughts, for example those discovered within sociology, economics and geography, the relatedness of cinema studies and its coincidence ability for longevity are improved very well. 

“In addition, by employing more comprehensively with the varied situations of film consumption, cinema study is distinguished as a discipline that is thoughtfully and comprehensively engaged with its subject” (Aveyard, 2011 as cited from Bowles, 2007b, p.254-255).


REFERENCES

• Aveyard, K. (May, 2011). Manners & Customs. What the country tells us: The place of the ‘Rural’ in contemporary studies of cinemas, 139, 124-132. Accessed on November 5, 2012 from University Brunei Darussalam Ebrary Books Website.

 

• Starenko, M. (1998). Afterimage. Where’s the text: Cinema studies in the ‘80s, 25 (6), pp.10.  Accessed on November 5, 2012 from University Brunei Darussalam Ebrary Books Website.

 

• Welsh, J. (1989). Literature/Film Quarterly. To the society for cinema studies: A Retraction, 17 (1), pp.49. Accessed on November 5, 2012 from University Brunei Darussalam Ebrary Books Website.

 

Photography: Reconceptualising, culture, memory and space

Question:  Why do we consider photography as a form of cultural critique? Is every photograph able to do so? 

Answer:

Photographs are strong and influential tool to critique culture (Woo, 2010). Editors connect photographs with cultural literacy in order to shape the past experiences and the current situations of individuals in order to interpret images (Langford & Zaslove, 2001). Photography is a strong and dominant medium used to discover social problems and attract the attention of the audiences and readers, however it might also create controversial between the audience and the photographs taken by the photographer itself (Fey, Shin, Cinquemani & Marino, 2010).

Photography criticism still can be accepted and considered as normal, assessing task with the aim to develop and approved other traditions and practices. However it might also create controversy. Criticism covers personal opinion, considered as objective in order to attract, such as, the readers of review articles with the aim to give their respect, back up and support for the reviewer (Woo, 2010 as cited from Bezencenet, 1982b: 727).

“At its best, criticism helps to locate particular work in relation to specific debates about practice through elucidating appreciation of the effect, meaning, context and import of the imagery under question” (Woo, 2010 as cited from Bezencenet, 1982b: 727).

No, not every photographs are able to be critiqued because audience and readers only believe, critique and interpret on what they want to critique and what they believe to be true. All the criticisms generate from their knowledge, personal experiences and the nature of the photographs delivered by the photographers itself (Woo, 2010 as cited from Moholy- Nagy, 1967: 28).

REFERENCES

• Fey, C., Shin, R., Cinquemani, S. & Marino, C. (2010). Art Education. Exploring racism through photography, 63 (5), 44-51.  Accessed on November 5, 2012 from University Brunei Darussalam Ebrary Books Website.

• Langford, M. & Zaslove, J. (2001). West Coast Line. Introduction [Photography, autobiographical memory and cultural literacy, 35 (1), 5-7. Accessed on November 5, 2012 from University Brunei Darussalam Ebrary Books Website.

• Woo, C. W. H. (2010). Analyzing Visual Communication. Brunei Darussalam: University Brunei Darussalam.  

Visual Narrative And The Media

Question: Why is narrative important when shaping a visual image to the audience? 

Answer:

The visual narrative displays a social life of experiences which comprised the bond of people and who share similar understandings, their worlds and themselves (Bach, 2001). Stories give a strong effect on various researches (Bach, 2001). Images which contained narrative are suitable and appropriate for the beginners of art viewers (Goldberg, 2005). In her research on aesthetic development, Abigail Housen, cognitive psychologist, showed that kids and adult find for stories in art even when the person who produces the painting and drawing did not mean to create a narrative stories of it. Artworks which contain narrative may help young viewers to interpret the art in various ways and it makes it become more fascinating (Goldberg, 2005).

The benefit of narrative ads is it may help customers to be able to create a thinking by using narrative (Wentzel, Tomczak & Herrmann, 2010 as cited from Escalas, 2004b). Narrative ads will involve the customers to think in narrative ways. “Narrative ads which also been labeled as drama ads, communicative information about the features of a product or service through a story like format” (Wentzel, Tomczak & Herrmann, 2010 as cited from Deighton, Komer & McQueen, 1989; Wells, 1989). Narrative in an ads consists of actors with purposes, an event which happened in a particular order and a pace which consist of physical, relation and spiritual elements (Wentzel, Tomczak & Herrmann, 2010 as cited from Padgett & Allen, 1997, p.53).

The process of narrative aiding consumers to construct meaning for an advertisement and help to enhance in the analysis of the advertised brand. By adding narrative in the production of an advertisement, consumers may try to connect themselves with the world created from the ad and may create the meaning of the ad for themselves (Wentzel, Tomczak & Herrmann, 2010 as cited from Bruner, 1986; Gerrig, 1993). When narrative is applied in processing a new information, consumers will attempt to find the similarity between the new information with the stories they had experienced before and stories which had stored in their memory (Wentzel, Tomczak & Herrmann, 2010 as cited from Schank, 1990; Schank & Abelson, 1995).

Schank (1990) stated that in order to understand the story, we need to have the ability to find the relation between the story that had been told with the one that we are familiar with. In other words, when applying narrative in the production of an advertisement, the audience may have an idea on how to attach the promoted brand to their personal experiences. This may help to improve the relation between the brand and the audience themselves (Wentzel, Tomczak & Herrmann, 2010 as cited from Escalas, 2004b).

References:

- Goldberg, B. (2005). Art Education. Art of Narrative: Interpreting Visual Stories, 58(2), pp. 25-32. Accessed on November 5, 2012 from University Brunei Darussalam Ebrary Books Website.

- Bach, H. (2001). Photography. The place of photograph in visual narrative research, 29(3), pp. 7. Accessed on November 5, 2012 from University Brunei Darussalam Ebrary Books Website.

- Wentzel, D., Tomczak, T. & Herrmann, A. (May 2010). Psychology & Marketing. The Moderating Effect Of Cognitive Resources on the evaluation of narrative Ads, 27(5), pp. 510-530. Accessed on November 5, 2012 from University Brunei Darussalam Ebrary Books Website.

The Ancient Art Of Rethoric And Persuasion

Question: Before coming to class, bring a print advertisement that you believe persuades the reader rhetorically. Explain your case using the concepts learnt this week.

Answer: 

Research shows that advertising is regard not as information but as the power of semiotic used which are viewed by the viewer according to their cultural experiences  (Oliver & Bulmer, 2006 as cited from Holt & Mulvey, 1997). Advertisers believed that the successful of advertisements depends not only on the message itself. However, it also depends on suitable mass media that are used such as images, styles and cultural icons which capture the viewers’ eyes. “The persuasive appeal is not tied to the literal or factual content of the message but the consumer constructed pastiche into which the images can be concocted” (Oliver & Bulmer, 2006 as cited from Hirschman & Thompson, 1997, p.58).

Rhetoric in advertising means that advertisers attempt to employ the most effective way for informing, reminding and persuading the target market. Symbols such as pictures are an example of visual rhetoric. Visual is considered as one of the rhetorical element because it has the same power of persuasive as words (Oliver & Bulmer, 2006).

Visual rhetoric applied images to create meaning and form an argument. Famous person, animals and cartoons advertising characters are used to make the message becomes more persuasive. This is another way on how the advertisers make the rhetoric becomes more powerful (Oliver & Bulmer, 2006 as cited from Mulvey & Medina, 2003).

Both text and images should be presence in an advertisement in order for it to be considered as rhetoric (Enschot, Hoeken & Mulken, 2008 as cited from Forceville, 1996; McQuarrie & Mick, 1992; Tanaka, 1992). Text and images have a connection to each other. With the presence of text, it helps us to interpret the picture very well. However, visual such as pictures is still the one that persuades the viewers (Enschot, Hoeken & Mulken, 2008).

In advertising, semiotic analysis text analysis is often used in order to attract and persuade the viewers (Stathakopoulos, Theodorakis & Mastoridou, 2008 as cited from McQuarrie & Mick, 1992).


For example,   the advertising below:

http://youtu.be/W7jkygJ_QNo

In the Pepsi's advertisement above shown, they use famous celebrities like Beyonce, Britney Spears, Enrique Iglesias and Pink. The celebs were wearing ancient Romanian's outfits which make them look sexy, unusual and attractive. This may attract the viewers to watch the commercial because the Hollywood's sweethearts are in the advertisement. The song which was singing by Beyonce, Britney Spears and Pink 'We will rock you' is also considered as rhetoric because the song is very famous in 1982 until now.

References:

· - Bulmer, S. & Oliver, M.B. (March, 2006). Marketing Communication. Visual Rhetoric and Global Advertising Imagery, 12(1), pp. 49-61. Accessed on November 5, 2012 from University Brunei Darussalam Ebrary Books Website.

· - Enschot, R.V., Hoeken, H. & Mulken, M.V. (2008). Information Design. Rhetoric in advertising: Attitudes towards verbo-pictorial rhetorical figures, 16(1), pp. 35-45. Accessed on November 5, 2012 from University Brunei Darussalam Ebrary Books Website.

· - Stathakopoulos, V., Theodorakis, I.G. & Mastoridou, E. (2008). International Journal Of Advertising. Visual and verbal rhetoric in advertising, 27(4), pp. 629-658. Accessed on November 5, 2012 from University Brunei Darussalam Ebrary Books Website.