Monday 28 March 2011
Ideas for Dissertation
The dreaded 6000 word dissertation is on the horizon and I think it is a good idea to start thinking of what subject matter I could write about. The following list is ideas for what the dissertation could be based upon;
-Use of Language within advertising and promotion to sell a product.(Research different languages used for different markets and how they differ, pretty similar to the essay I wrote about the Gazes in Advertising to sell a product)
-How recycling packaging and the eco-friendly morals are applied to cooperations and how effectively are they used?
-Look at how technologies are developing and how cooperations use the latest technologies to engage in new markets, globalization...
***On going post
-Use of Language within advertising and promotion to sell a product.(Research different languages used for different markets and how they differ, pretty similar to the essay I wrote about the Gazes in Advertising to sell a product)
-How recycling packaging and the eco-friendly morals are applied to cooperations and how effectively are they used?
-Look at how technologies are developing and how cooperations use the latest technologies to engage in new markets, globalization...
***On going post
Task 5 Extra
From the lecture on sustainability, I was pretty shocked when I learnt that the worlds media is dominated by six single Americans. The power they have to use media to put them in more powerful positions thean the governments is a scary thought. Power can be thought of as a new form of imperialism. The following list helped me answer task 5, when writing about George Ritzer's quote on "McDonaldisation". The idea of using this American Icon and lifestyle to appeal to the market importance, is a scary thought for the third world countries who may not know to much about America but this idea of market expansion gives them the idea of the American lifestyle, but can this idea of Ron McDonald actually reflect America or the lifestyle.
Market Importance
1. North America
2. Western Europe, Japan & Australia
3. India, Brazil, China and Eastern Europe
4. Rest of the world.
Market Importance
1. North America
2. Western Europe, Japan & Australia
3. India, Brazil, China and Eastern Europe
4. Rest of the world.
Wednesday 23 March 2011
Task 3: Final Essay
Paul Brandreth
CTS
Graphic Design Level 05
Submit a proposal for the 2,000 word essay element of the portfolio brief.
The Gaze
Above are two advertisements used for the essay
“One might simplify this by saying: men act and women appear. Men look at women. Women watch themselves being looked at. This determines not only most relations between men and women but also the relations of women to themselves.” Berger(1972: 47) The following essay is based around the quote from John Bergers book, Ways of Seeing and to find out the different gazes used within male/ female advertisements.
To make this a fair essay I’ve decided to use the two Versace advertisements above, one aimed to sell for the male audience and the other advert advertised for the female audience. By using the same company Versace, it makes it fair because they are both aimed at the same market and use the same advertising language. If I analysed two different companies advertising it would make it unfair as one company would aim its products at a different audience to the other using different language.
The first image above, Madonna for Versace uses a direct gaze, which the woman looks out of the frame as if she is looking straight at the audience. This gaze gives the viewer the thought that she is directly looking at them and draws in their attention. The delivery and use of the gaze advertises for a female audience to be this woman and be in her position but also aimed at the male audience using certain ways such as scopophilia and fetishistic to grab the males attention. The idea of the female gaze looking straight at the audience becomes a more sense of reality, that the model is connected with the audience. “Soon after we can see, we are aware that we can also been seen. The eye of the other combines with our own eye to make it fully credible that we are part of the visual world” Berger (1972/ 9) The importance of the quote for the eye to eye contact grabs the audience attention and the feeling of a perception of communication between the two.
However in the second image there are two gazes happening. First being the direct gaze from the male, and secondly the intra-dietetic gaze for the woman. The male positioning and contact with the audience gives a strong powerful, in-control male status. Referring to the opening quote of the essay Berger’s statement of “Men look at women. Women watch themselves being looked at” applies to this image, as although the male uses the direct gaze, the other gaze, which is just as powerful to the audience, is the intra-dietetic gaze from the woman seductively looks upon the male. The importance of the woman’s gaze and behavior towards the male gaze is important. “Men survey women before treating them. Consequently how a woman appears to a man can determined how she will be treated”(Berger 1972/ 46). The idea of the appearance in the second advertisement shows the woman after the male’s attention, this is important for the male audience to understand the females’ appearance so the product can be sold through the imagery used.
The use of the camera angles is important to capture what the audience needs to see the feel connected with the advert. “Publicity increasingly uses sexuality is never free in itself; it is a symbol for something presumed to be larger than it; the good life in which you can buy whatever you want. To be able to buy is the same thing as being sexually desirable… Usually it is the implicit message, If you are able to buy this product you will be loveable. If you cannot buy it, you will be less lovable.” Berger (1972/ 144) The idea of seeing the female models in the advertisements would work as if you bought the product you will feel loved, but if you didn’t buy the product, would you be less loveable? If you were to buy every product to feel lovable, you would need to either have a lot of money or select certain products, which makes the competition to sell the product difficult for different companies.
In both images of the advertisements they both use the females gazes for strong visual connections towards voyeuristic, and fetishistic scopophilic pleasure. "In their traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to connote to-be-looked-at-ness" For the advertisements on the left the use of the female using Voyeuristic- scopophilic pleasure as presenting her actions to an audience using sexual connotations with the envelope. The second image uses the woman’s gaze also with voyeuristic and fetishistic scopophilia through her positioning towards the male in the advertisement.
The idea of using voyeuristic and fetishistic scopophilia techniques within advertising is a successful tool to sell a product. “Women have traditionally been exploited by some advertisers to sell products. And in the process, myths about women have been reinforced. Advertisers have sold us the myth that all women must be thin. Advertisers have sold American women the myth that the ideal woman is blond. Media campaigns have reinforced the myth communicated is that product use makes a woman sexy. The reality is that sex sells.” Toland (1997/ 226) This quote seems to be true within the advertisements above, however, in the Male advert the woman has dark hair, maybe this has changed since the book was written, although in the female advertisement the quote supports the woman, blond hair and slim. I think that whatever colour hair or body type the female model has depends on what kind of audience the advertisement is trying to connect to. However the idea of sex sells definitely supports the images of the advertisements above.
It seems that we buy these products to be loveable and be someone similar who appears in the advertisements. “Advertisements are selling us something else besides consumer good: in providing us with a structure in which we, and those goods, are interchangeable, they are selling us ourselves.” Williamson (1978 /13) I think the word “ourselves” is important from the quote. It seems that by looking at the advertisements above we buy the product and buy the thought that this advert belongs to us in the way that we are fitting towards the models actions.
So if women use voyeuristic and fetishistic scopophilia to sell a product what is the role of the male gaze? The male gaze helps women to become a commodity, which sells the product through the idea of becoming someone else, and being in the female gazes position. The idea for the male audience to reflect the male in the advertisements leads the audience to think about the woman from the advertisement looking at them. Back to the quote from the beginning of the essay “Men look at women. Women watch themselves being looked at.” In this instance of the second advertisement it seems the male audience do glance to the male for the idea of being in his position and the woman gazing at the audience.
The appearance from the females selling product has to be influential and relate towards the female audience. However the appearance and glamour towards the male audience has to use sexual connotations. Mulvey (1989/ 29)”I was interested in the relationship between the image of the woman on the screen and the “masculinisation” of the spectator position, regardless of the actual sex (or possible deviance) of any real live movie-goer. In built patterns of pleasure and identification impose masculinity as a point of view; a point of view which is also manifest in the general use of masculinity third person.” The quote instructs the importance for the female model to sell to a masculine third person viewer, but through the male audience it then appeals and grabs the female audience to look after. Arguing for the quote “Men look at women and women watch themselves being looked at” it seems the quote is true in the way the advertising industry aim the products at a male audience and is a powerful point for why the role of the male and female gazes in the Versace adverts are delivered in the way they are.
Why is it the male, who is in charge and command of the situation and not the females? I believe the reason for “men act and women appear” Berger(1972: 47) is down to the social relationship between man and woman through generations where the male would be in charge and the woman to obey the male. “These early days of research into woman’s place in film history quickly established the fact that women had been excluded from the production and making of films, possibly in proportion to their notorious exploitation as sexual objects on screen” Mulvey (1989/113). This quote is used for the film industry but can be applied to advertisements and through the evolution between advertisements and films it seems the male directs and this is a reason for the idea “men act and woman appear”.
The way we (the audience) look at the advertisements have been thought of so we look around at the whole image to build a visual understanding of what is happening within the advert. “We never look at one thing; we are always looking at the relation between things and ourselves. Our vision is continually active, continually moving, continually holding things in a circle around itself, constituting what is present to us as we are.” Berger(1972/ 9) The gaze is so important in the relationship to the viewer to give the sense that they have eye to eye contact with the model.
To summarize the differences of the advertisements the quote from Berger, which I started with,“Men look at women. Women watch themselves being looked at. Determines not only most relations between men and women but also the relations of women to themselves”. This applies directly to the two Versace images I have used above. The male advertisements uses the males gazes as if he was the audience/ the male viewing the advert, and applies the thought used with voyeuristic and fetishistic scopophilia from the female model, to sell the product using the sex sells motto. However in the male advertisement the woman’s actions, behavior and glamour connect to a female audience “who gaze at other women” to want to be this woman in the advert.
In the female advertisement, the male is not present but the techniques, voyeuristic and fetishistic scopophilia actions from the female grabs the males attention using the direct gaze from the female model straight into the frame of the audience. So from both images the male looks at the male advertisement, by looking through the male gaze and acting as him to gaze at the female and in the female advertisement the male looks directly at the female. And the female audience looks at the glamour and voyeuristic and fetishistic scopophilia actions to relate to the model and want to be in her shoes.
I think that the roles of male and female models within advertising will continue to be aimed at a masculine third person viewer, as this seems how the roles have been through paintings, cinema and still images. Most people within the advertising industry stick to these techniques just to be able to sell a product, and the competition to sell causes the female gazes to use more voyeuristic and fetishistic scopophilia actions. From research into the male/female gazes within advertising, there are people who argue the way that the way women use certain techniques to sell a product is wrong, in the fact that it has to be the female using these certain techniques and not in the male gazes.
Reference:
Berger, J. (1972) Ways of Seeing, London: Penguin
Burke. J. (2000) Vision, the Gaze, and the Function of the Senses in Celestina, Pennsylvania: The Pennsylvania State University Press
Mulvey, L. (1989) Visual and other pleasures, Hampshire :Palgrave
Mulvey, L. (1996) Fetishism and Curiosity, London : British Film Institute
Toland Frith, K. (1997) Undressing The Ad, New York : Peter Lang Publications
Williamson, J. (2002) Decoding Advertisements, London : Marion Boyars Publishers Ltd
Freedman, B. (1991) Staging the Gaze, United State of America : Cornell University Press
Casetti, F. (1991) Inside The Gaze, Bloomington: Indiana University Press
Seppanen, J (2006) The power of the gaze, New York : Peter Lang Publishing
McGowan, T (2008) The Real Gaze, New York: State University of New York
Mirzoeff, N (1999) An introduction to visual culture, London : Routledge
Beckmann, J (2007) Single camera three-dimensional gaze determination, Texas: Texas A&M University
CTS
Graphic Design Level 05
Submit a proposal for the 2,000 word essay element of the portfolio brief.
The Gaze
Above are two advertisements used for the essay
“One might simplify this by saying: men act and women appear. Men look at women. Women watch themselves being looked at. This determines not only most relations between men and women but also the relations of women to themselves.” Berger(1972: 47) The following essay is based around the quote from John Bergers book, Ways of Seeing and to find out the different gazes used within male/ female advertisements.
To make this a fair essay I’ve decided to use the two Versace advertisements above, one aimed to sell for the male audience and the other advert advertised for the female audience. By using the same company Versace, it makes it fair because they are both aimed at the same market and use the same advertising language. If I analysed two different companies advertising it would make it unfair as one company would aim its products at a different audience to the other using different language.
The first image above, Madonna for Versace uses a direct gaze, which the woman looks out of the frame as if she is looking straight at the audience. This gaze gives the viewer the thought that she is directly looking at them and draws in their attention. The delivery and use of the gaze advertises for a female audience to be this woman and be in her position but also aimed at the male audience using certain ways such as scopophilia and fetishistic to grab the males attention. The idea of the female gaze looking straight at the audience becomes a more sense of reality, that the model is connected with the audience. “Soon after we can see, we are aware that we can also been seen. The eye of the other combines with our own eye to make it fully credible that we are part of the visual world” Berger (1972/ 9) The importance of the quote for the eye to eye contact grabs the audience attention and the feeling of a perception of communication between the two.
However in the second image there are two gazes happening. First being the direct gaze from the male, and secondly the intra-dietetic gaze for the woman. The male positioning and contact with the audience gives a strong powerful, in-control male status. Referring to the opening quote of the essay Berger’s statement of “Men look at women. Women watch themselves being looked at” applies to this image, as although the male uses the direct gaze, the other gaze, which is just as powerful to the audience, is the intra-dietetic gaze from the woman seductively looks upon the male. The importance of the woman’s gaze and behavior towards the male gaze is important. “Men survey women before treating them. Consequently how a woman appears to a man can determined how she will be treated”(Berger 1972/ 46). The idea of the appearance in the second advertisement shows the woman after the male’s attention, this is important for the male audience to understand the females’ appearance so the product can be sold through the imagery used.
The use of the camera angles is important to capture what the audience needs to see the feel connected with the advert. “Publicity increasingly uses sexuality is never free in itself; it is a symbol for something presumed to be larger than it; the good life in which you can buy whatever you want. To be able to buy is the same thing as being sexually desirable… Usually it is the implicit message, If you are able to buy this product you will be loveable. If you cannot buy it, you will be less lovable.” Berger (1972/ 144) The idea of seeing the female models in the advertisements would work as if you bought the product you will feel loved, but if you didn’t buy the product, would you be less loveable? If you were to buy every product to feel lovable, you would need to either have a lot of money or select certain products, which makes the competition to sell the product difficult for different companies.
In both images of the advertisements they both use the females gazes for strong visual connections towards voyeuristic, and fetishistic scopophilic pleasure. "In their traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to connote to-be-looked-at-ness" For the advertisements on the left the use of the female using Voyeuristic- scopophilic pleasure as presenting her actions to an audience using sexual connotations with the envelope. The second image uses the woman’s gaze also with voyeuristic and fetishistic scopophilia through her positioning towards the male in the advertisement.
The idea of using voyeuristic and fetishistic scopophilia techniques within advertising is a successful tool to sell a product. “Women have traditionally been exploited by some advertisers to sell products. And in the process, myths about women have been reinforced. Advertisers have sold us the myth that all women must be thin. Advertisers have sold American women the myth that the ideal woman is blond. Media campaigns have reinforced the myth communicated is that product use makes a woman sexy. The reality is that sex sells.” Toland (1997/ 226) This quote seems to be true within the advertisements above, however, in the Male advert the woman has dark hair, maybe this has changed since the book was written, although in the female advertisement the quote supports the woman, blond hair and slim. I think that whatever colour hair or body type the female model has depends on what kind of audience the advertisement is trying to connect to. However the idea of sex sells definitely supports the images of the advertisements above.
It seems that we buy these products to be loveable and be someone similar who appears in the advertisements. “Advertisements are selling us something else besides consumer good: in providing us with a structure in which we, and those goods, are interchangeable, they are selling us ourselves.” Williamson (1978 /13) I think the word “ourselves” is important from the quote. It seems that by looking at the advertisements above we buy the product and buy the thought that this advert belongs to us in the way that we are fitting towards the models actions.
So if women use voyeuristic and fetishistic scopophilia to sell a product what is the role of the male gaze? The male gaze helps women to become a commodity, which sells the product through the idea of becoming someone else, and being in the female gazes position. The idea for the male audience to reflect the male in the advertisements leads the audience to think about the woman from the advertisement looking at them. Back to the quote from the beginning of the essay “Men look at women. Women watch themselves being looked at.” In this instance of the second advertisement it seems the male audience do glance to the male for the idea of being in his position and the woman gazing at the audience.
The appearance from the females selling product has to be influential and relate towards the female audience. However the appearance and glamour towards the male audience has to use sexual connotations. Mulvey (1989/ 29)”I was interested in the relationship between the image of the woman on the screen and the “masculinisation” of the spectator position, regardless of the actual sex (or possible deviance) of any real live movie-goer. In built patterns of pleasure and identification impose masculinity as a point of view; a point of view which is also manifest in the general use of masculinity third person.” The quote instructs the importance for the female model to sell to a masculine third person viewer, but through the male audience it then appeals and grabs the female audience to look after. Arguing for the quote “Men look at women and women watch themselves being looked at” it seems the quote is true in the way the advertising industry aim the products at a male audience and is a powerful point for why the role of the male and female gazes in the Versace adverts are delivered in the way they are.
Why is it the male, who is in charge and command of the situation and not the females? I believe the reason for “men act and women appear” Berger(1972: 47) is down to the social relationship between man and woman through generations where the male would be in charge and the woman to obey the male. “These early days of research into woman’s place in film history quickly established the fact that women had been excluded from the production and making of films, possibly in proportion to their notorious exploitation as sexual objects on screen” Mulvey (1989/113). This quote is used for the film industry but can be applied to advertisements and through the evolution between advertisements and films it seems the male directs and this is a reason for the idea “men act and woman appear”.
The way we (the audience) look at the advertisements have been thought of so we look around at the whole image to build a visual understanding of what is happening within the advert. “We never look at one thing; we are always looking at the relation between things and ourselves. Our vision is continually active, continually moving, continually holding things in a circle around itself, constituting what is present to us as we are.” Berger(1972/ 9) The gaze is so important in the relationship to the viewer to give the sense that they have eye to eye contact with the model.
To summarize the differences of the advertisements the quote from Berger, which I started with,“Men look at women. Women watch themselves being looked at. Determines not only most relations between men and women but also the relations of women to themselves”. This applies directly to the two Versace images I have used above. The male advertisements uses the males gazes as if he was the audience/ the male viewing the advert, and applies the thought used with voyeuristic and fetishistic scopophilia from the female model, to sell the product using the sex sells motto. However in the male advertisement the woman’s actions, behavior and glamour connect to a female audience “who gaze at other women” to want to be this woman in the advert.
In the female advertisement, the male is not present but the techniques, voyeuristic and fetishistic scopophilia actions from the female grabs the males attention using the direct gaze from the female model straight into the frame of the audience. So from both images the male looks at the male advertisement, by looking through the male gaze and acting as him to gaze at the female and in the female advertisement the male looks directly at the female. And the female audience looks at the glamour and voyeuristic and fetishistic scopophilia actions to relate to the model and want to be in her shoes.
I think that the roles of male and female models within advertising will continue to be aimed at a masculine third person viewer, as this seems how the roles have been through paintings, cinema and still images. Most people within the advertising industry stick to these techniques just to be able to sell a product, and the competition to sell causes the female gazes to use more voyeuristic and fetishistic scopophilia actions. From research into the male/female gazes within advertising, there are people who argue the way that the way women use certain techniques to sell a product is wrong, in the fact that it has to be the female using these certain techniques and not in the male gazes.
Reference:
Berger, J. (1972) Ways of Seeing, London: Penguin
Burke. J. (2000) Vision, the Gaze, and the Function of the Senses in Celestina, Pennsylvania: The Pennsylvania State University Press
Mulvey, L. (1989) Visual and other pleasures, Hampshire :Palgrave
Mulvey, L. (1996) Fetishism and Curiosity, London : British Film Institute
Toland Frith, K. (1997) Undressing The Ad, New York : Peter Lang Publications
Williamson, J. (2002) Decoding Advertisements, London : Marion Boyars Publishers Ltd
Freedman, B. (1991) Staging the Gaze, United State of America : Cornell University Press
Casetti, F. (1991) Inside The Gaze, Bloomington: Indiana University Press
Seppanen, J (2006) The power of the gaze, New York : Peter Lang Publishing
McGowan, T (2008) The Real Gaze, New York: State University of New York
Mirzoeff, N (1999) An introduction to visual culture, London : Routledge
Beckmann, J (2007) Single camera three-dimensional gaze determination, Texas: Texas A&M University
Task 6
Look at the CTS blog that Garry Barker has been writing to complement the lecture programme this year. Write a short response to one of the posts on the blog. Use the ideas that Garry is discussing to mount a short critical evaluation of one piece of Graphic design that you have produced on Level 5.
Gary's post are interesting points and I have chosen to relate the post of the Dymo Tapes to my latest brief for YCN, which was to produce a new way to make money and engage a new audience within a music record label Warp.
The similarities from the Dymo tape to the Warp work produced is the idea of using something that already exists but applying them to a new method for the modern day, The Dymo tape was produced in the 70's and used for punks and people working in workshops. Today the Dymo has been reformed to apply to a younger audience by changing the method of delivery, for a safer, younger, modern item.
The Warp records have been producing music for 20 years now, and they currently have a website to purchase, listen to music but now aimed at tech-savvy young people, myself and Rob Green decided to make an app for mobile devices but keeping the same content as the original website. The idea of applying the new technology with a QR Code scan, to scan rewards found on Warp products opens up to a new market and a new concept but keeping the original content and functions of the website.
Gary's post are interesting points and I have chosen to relate the post of the Dymo Tapes to my latest brief for YCN, which was to produce a new way to make money and engage a new audience within a music record label Warp.
The similarities from the Dymo tape to the Warp work produced is the idea of using something that already exists but applying them to a new method for the modern day, The Dymo tape was produced in the 70's and used for punks and people working in workshops. Today the Dymo has been reformed to apply to a younger audience by changing the method of delivery, for a safer, younger, modern item.
The Warp records have been producing music for 20 years now, and they currently have a website to purchase, listen to music but now aimed at tech-savvy young people, myself and Rob Green decided to make an app for mobile devices but keeping the same content as the original website. The idea of applying the new technology with a QR Code scan, to scan rewards found on Warp products opens up to a new market and a new concept but keeping the original content and functions of the website.
Task 5
Read the text- Balser, E (2008) 'Capital Accumulation, Sustainability & Hamilton Ontario'. We have copies in the CTS office, 115.
Write a 500 word critical summary of the text which explicitly adresses the following questions
How is sustainability defined in the text?
What are the main characteristics or tendencies of Capitalism
Define a 'crisis of Capitalism'. Offer an example.
What solutions have been offered to the sustainability question? Are these successful or realistic? - If not why are they flawed?
Is the concept of sustainability compatible with Capitalism?
From reading the text it seems that sustainability it produced to counter the crises happening in the world at the minute. "Sustainability is often defined as inter- and inter-generational equity in the social, environmental, economic, moral and political spheres of society" Meadows.
Capitalism is a never ending growing market, by either creating non-capital market or intensifying internal markets. Marx, "a precondition of production based on capital is therefore the production of a constantly widening sphere of circulation, whether the sphere is directly expanded or whether more points within it are created as points of production." According to the text capitalism is an opportunity for companies to expand national markets to the world.
The idea of taking national markets to the rest of the world shares the nationals cultural, political and economic lifestyle to the rest of the world. For instance, Ritzer talks about the idea of "McDonaldisation" offering the rest of the world the idea of this american icon/ lifestyle to the rest of the world, apart from the third world developing countries.
A crisis of capitalism could be the company Andrex (Toilet Roll Specialists), as they claim for every pack of toilet rolls we buy they will plant a new tree. Presenting the customers this idea of replacing whats being taken in a nice eco-friendly delivery, helps expand there market from toilet roll to also eco-friendly and toilet roll. The company has jumped on the band wagon of the eco/green morals and also gained consumers. However it takes a couple of minutes to cut a tree down but years and years to grow a new one.
The solutions offered to tackle the sustainability, is to release less co2, try to become co2 neutral, recycle and use hybrid cars. All of these offered solutions have there flaws, but could work if everyone could agree to follow them. Realistically tho for instance, if everyone was to but a new hybrid car, what would happen to there brand new diesel car they've just spent thousands on, what this be fair and would people agree with this proposal?
The idea of sustainability and capitalism would not be compatible with each other, as when there is an economic crisis this makes the businesses profit but from the products they sell it also depletes the world of its natural resources.
Task 4
Use Shannon & Weaver's model of the communication process to write a 300-400 word analysis of a work of Graphic Design. Comment on the ways in which the piece of Graphic Design attempts to communicate to a specific audience, using techniques of redundancy, entropy or noise.
Look at Fiske, J. (2002) 'An Introduction To Communication Studies' if you are struggling.
The new Renault advert 2011
Research to help write about the advert in italic.
C & W's original model consisted of five elements:
An information source, which produces a message.
A transmitter, which encodes the message into signals
A channel, to which signals are adapted for transmission
A receiver, which 'decodes' (reconstructs) the message from the signal.
A destination, where the message arrives.
A sixth element, noise is a dysfunctional factor: any interference with the message travelling along the channel (such as 'static' on the telephone or radio) which may lead to the signal received being different from that sent.
Taken from http://www.aber.ac.uk/media/Documents/short/trans.html
For the telephone the channel is a wire, the signal is an electrical current in it, and the transmitter and receiver are the telephone handsets. Noise would include crackling from the wire. In conversation, my mouth is the transmitter, the signal is the sound waves, and your ear is the receiver. Noise would include any distraction you might experience as I speak.
A key measure of information is known as entropy, which is usually expressed by the average number of bits needed for storage or communication. Entropy quantifies the uncertainty involved in predicting the value of a random variable. For example, specifying the outcome of a fair coin flip (two equally likely outcomes) provides less information (lower entropy) than specifying the outcome from a roll of a die (six equally likely outcomes).
Redundancy is another concept which has emerged from the information theory to communication. Redundancy is the opposite of information. Something that is redundant adds little, if any, information to a message. Redundancy is important because it helps combat noise in a communicating system (e.g. in repeating the message). Noise is any factor in the process that works against the predictability of the outcome of the communication process.
Taken from
Shannon, C.E., & Weaver, W. (1949). The mathematical theory of communication. Urbana: University of Illinois Press
http://www.utwente.nl/cw/theorieenoverzicht/Theory%20clusters/Communication%20and%20Information%20Technology/Information_Theory.doc/
Task 4
For the Renault advert the channel would be a satellite as televisions are now digital. The signal would be the digital signal sending the message. The transmitter would be transmitter would be sent from the channel of the tv station the advert would be shown on. The receiver (decoder) would be the television at the viewers home, or as technology has moved on it maybe also shown on a mobile device/ ipad. The noise maybe loss of signal, however with new technology such as digital broadcasting the noise is reduced alot compared to the analogue broadcasting. The transmitter is the sound and visuals from the Renault advert, the signal is the digital signals, and the reciever is the audience watching at the selected destination using ears and eyes. The redundancy since moving from analogue to digital signals has reduced the noise and now becomes a clearer uninterrupted almost level of noise. The Entropy for this advert is a high entropy as the outcome can be signaled to various sources included mobile, television, computers and portable devices such as the ipad.
I choose this advert because it is one of the better adverts I have seen for a while, the advert is targeted towards a contemporary young audience. Apparently whilst trying to find out which design company designed and produced the Renault advert, I stumbled across a few sites which have banned the advert from day time tv because of the content. (link below)
http://punchbowlblog.com/2011/02/07/new-renault-clio-advert-featuring-dita-von-teese-rihanna-thierry-henry-banned-from-tv/
Look at Fiske, J. (2002) 'An Introduction To Communication Studies' if you are struggling.
The new Renault advert 2011
Research to help write about the advert in italic.
C & W's original model consisted of five elements:
An information source, which produces a message.
A transmitter, which encodes the message into signals
A channel, to which signals are adapted for transmission
A receiver, which 'decodes' (reconstructs) the message from the signal.
A destination, where the message arrives.
A sixth element, noise is a dysfunctional factor: any interference with the message travelling along the channel (such as 'static' on the telephone or radio) which may lead to the signal received being different from that sent.
Taken from http://www.aber.ac.uk/media/Documents/short/trans.html
For the telephone the channel is a wire, the signal is an electrical current in it, and the transmitter and receiver are the telephone handsets. Noise would include crackling from the wire. In conversation, my mouth is the transmitter, the signal is the sound waves, and your ear is the receiver. Noise would include any distraction you might experience as I speak.
A key measure of information is known as entropy, which is usually expressed by the average number of bits needed for storage or communication. Entropy quantifies the uncertainty involved in predicting the value of a random variable. For example, specifying the outcome of a fair coin flip (two equally likely outcomes) provides less information (lower entropy) than specifying the outcome from a roll of a die (six equally likely outcomes).
Redundancy is another concept which has emerged from the information theory to communication. Redundancy is the opposite of information. Something that is redundant adds little, if any, information to a message. Redundancy is important because it helps combat noise in a communicating system (e.g. in repeating the message). Noise is any factor in the process that works against the predictability of the outcome of the communication process.
Taken from
Shannon, C.E., & Weaver, W. (1949). The mathematical theory of communication. Urbana: University of Illinois Press
http://www.utwente.nl/cw/theorieenoverzicht/Theory%20clusters/Communication%20and%20Information%20Technology/Information_Theory.doc/
Task 4
For the Renault advert the channel would be a satellite as televisions are now digital. The signal would be the digital signal sending the message. The transmitter would be transmitter would be sent from the channel of the tv station the advert would be shown on. The receiver (decoder) would be the television at the viewers home, or as technology has moved on it maybe also shown on a mobile device/ ipad. The noise maybe loss of signal, however with new technology such as digital broadcasting the noise is reduced alot compared to the analogue broadcasting. The transmitter is the sound and visuals from the Renault advert, the signal is the digital signals, and the reciever is the audience watching at the selected destination using ears and eyes. The redundancy since moving from analogue to digital signals has reduced the noise and now becomes a clearer uninterrupted almost level of noise. The Entropy for this advert is a high entropy as the outcome can be signaled to various sources included mobile, television, computers and portable devices such as the ipad.
I choose this advert because it is one of the better adverts I have seen for a while, the advert is targeted towards a contemporary young audience. Apparently whilst trying to find out which design company designed and produced the Renault advert, I stumbled across a few sites which have banned the advert from day time tv because of the content. (link below)
http://punchbowlblog.com/2011/02/07/new-renault-clio-advert-featuring-dita-von-teese-rihanna-thierry-henry-banned-from-tv/
Monday 7 February 2011
Paul Brandreth
CTS
Graphic Design Level 05
Submit a proposal for the 2,000 word essay element of the portfolio brief.
The proposal should include-
. A proposed essay title or topic
. The main issues addressed by your argument (in bullet points)
. Any visual material that you will look at (include hyperlinks if possible)
. What theoretical approach / methodology will you use? e.g. marxism, the gaze, psychoanalysis etc
. Which specific theorists / writers will you refer to?
. At least 5 books / articles / resources already located (referenced using Harvard)
The Gaze
Above are two advertisements used for the essay
“One might simplify this by saying: men act and women appear. Men look at women. women watch themselves being looked at. This determines not only most relations between men and women but also the relations of women to themselves.” Quoted by Berger(1972: 47) The following essay is based around the quote from from John Bergers book, ways of seeing and to find out the different gazes used within male/ female advertisements. To make this fair I have decided to use the two Versace advertisements above, one aimed to sell for the male audience and the other advert advertised for the female audience. By using the same company Versace, it makes it fair because they are both aimed at the same market and use the same advertising language.
The first image above of Madonna advertising for Versace uses a direct gaze where woman looks out of the frame as if she is looking straight at the audience. This gaze gives the viewer the thought that she is directly looking at them and draws in their attention. The delivery and use of the gaze advertises for a female audience to be this woman and be in her position but also aimed at the male audience using certain ways such as scopophilia and fetishistic to grab the males attention.
However in the second image there are two gazes happening. First being the direct gaze from the male, and secondly the intra-dietetic gaze for the woman.. The male positioning and contact with the audience gives a strong powerful, in-control male status. Referring to the opening quote of the essay Berger’s statement of “Men look at women. Women watch themselves being looked at” applies to this image as although the male uses the direct gaze, the other gaze which is just as powerful to the audience is the intra-dietetic gaze from the woman seductively looks upon the male and also creates a
CTS
Graphic Design Level 05
Submit a proposal for the 2,000 word essay element of the portfolio brief.
The proposal should include-
. A proposed essay title or topic
. The main issues addressed by your argument (in bullet points)
. Any visual material that you will look at (include hyperlinks if possible)
. What theoretical approach / methodology will you use? e.g. marxism, the gaze, psychoanalysis etc
. Which specific theorists / writers will you refer to?
. At least 5 books / articles / resources already located (referenced using Harvard)
The Gaze
Above are two advertisements used for the essay
“One might simplify this by saying: men act and women appear. Men look at women. women watch themselves being looked at. This determines not only most relations between men and women but also the relations of women to themselves.” Quoted by Berger(1972: 47) The following essay is based around the quote from from John Bergers book, ways of seeing and to find out the different gazes used within male/ female advertisements. To make this fair I have decided to use the two Versace advertisements above, one aimed to sell for the male audience and the other advert advertised for the female audience. By using the same company Versace, it makes it fair because they are both aimed at the same market and use the same advertising language.
The first image above of Madonna advertising for Versace uses a direct gaze where woman looks out of the frame as if she is looking straight at the audience. This gaze gives the viewer the thought that she is directly looking at them and draws in their attention. The delivery and use of the gaze advertises for a female audience to be this woman and be in her position but also aimed at the male audience using certain ways such as scopophilia and fetishistic to grab the males attention.
However in the second image there are two gazes happening. First being the direct gaze from the male, and secondly the intra-dietetic gaze for the woman.. The male positioning and contact with the audience gives a strong powerful, in-control male status. Referring to the opening quote of the essay Berger’s statement of “Men look at women. Women watch themselves being looked at” applies to this image as although the male uses the direct gaze, the other gaze which is just as powerful to the audience is the intra-dietetic gaze from the woman seductively looks upon the male and also creates a
Sunday 23 January 2011
Ideas for introduction quote
Ideas for introduction quote
-‘men could look freely at women, but women could only glance back surreptitiously’ (Dyer 1992a, 265).
-Berger insisted that women were still ‘depicted in a different way to men - because the "ideal" spectator is always assumed to be male and the image of the woman is designed to flatter him
-Jib Fowles,‘”in advertising males gaze, and females are gazed at”
-‘men could look freely at women, but women could only glance back surreptitiously’ (Dyer 1992a, 265).
-Berger insisted that women were still ‘depicted in a different way to men - because the "ideal" spectator is always assumed to be male and the image of the woman is designed to flatter him
-Jib Fowles,‘”in advertising males gaze, and females are gazed at”
Structure of essay
-Introduction about the gaze in response to the question. Quote about male and female gazes in advertising
-Start to talk about the Che magazine aimed for a male audience, which has both male and female gazes. Use terminology and quotes
-Then talk about how the cover of the Vogue magazine aimed at a female audience but uses a female as the visual subject using terminology and quotes.
-Then compare both Versace advertisements and talk about the differences about how the gazes are used in both different target audiences’ using terminology
-Summarise
I maybe should consider missing the first two images out and concentrate on the Versace adverts as the two images before are also comparing each- repeated
Images to use for Essay
Could be interesting to talk about at the target audience is aimed at females but also includes a female gaze, how does this differ to a magazine aimed at a male audience?
This advert is aimed at a male audience but would be good to talk about because it includes both female and male gazes. Paul Messaris notes that female models in ads addressed to women ‘treat the lens as a substitute for the eye of an imaginary male onlooker,’ adding that ‘it could be argued that when women look at these ads, they are actually seeing themselves as a man might see them’
Could talk about how the product aimed at a male target audience is advertised by a female and talk about the reasons why? Using gaze terminology. Berger insisted that women were still ‘depicted in a different way to men - because the "ideal" spectator is always assumed to be male and the image of the woman is designed to flatter him’
The two Versace Adverts above could be good to use to compare the male and female gazes with in the male and female target audience.
Could talk about how the product aimed at a male target audience is advertised by a female and talk about the reasons why? Using gaze terminology. Berger insisted that women were still ‘depicted in a different way to men - because the "ideal" spectator is always assumed to be male and the image of the woman is designed to flatter him’
The two Versace Adverts above could be good to use to compare the male and female gazes with in the male and female target audience.Notes for starting essay
The Gaze/ The Look
'to gaze implies more than to look at - it signifies a psychological relationship of power, in which the gazer is superior to the object of the gaze' (Schroeder 1998, 208).
a gaze of direct address which represents a demand for the viewer (as the object of the look) to enter into a parasocial relationship with the depicted person - with the type of relationship indicated by a facial expression or some other means (this form of address is the norm for television newsreaders and portraits and is common in advertisements and posed magazine photographs). _(Kress & van Leeuwen 1996, 122ff)
Several key forms of gaze can be identified in photographic, filmic or televisual texts, or in figurative graphic art. The most obvious typology is based on who is doing the looking, of which the following are the most commonly cited:
-the spectator’s gaze: the gaze of the viewer at an image of a person (or animal, or object) in the text;
-the intra-diegetic gaze: a gaze of one depicted person at another (or at an animal or an object) within the world of the text (typically depicted in filmic and televisual media by a subjective ‘point-of-view shot’);
-the direct [or extra-diegetic] address to the viewer: the gaze of a person (or quasi-human being) depicted in the text looking ‘out of the frame’ as if at the viewer, with associated gestures and postures (in some genres, direct address is studiously avoided);
-the look of the camera - the way that the camera itself appears to look at the people (or animals or objects) depicted; less metaphorically, the gaze of the film-maker or photographer.
In his study of women’s magazine advertisements, Trevor Millum distinguished between these forms of attention:
_. attention directed towards other people;
_. attention directed to an object;
_. attention directed to oneself;
_. attention directed to the reader/camera;
_. attention directed into middle distance, as in a state of reverie;
_. direction or object of attention not discernible. _(Millum 1975, 96, 115, 139)
He also categorized relationships between those depicted thus:
_. reciprocal attention: the attention of those depicted is directed at each other;
_. divergent attention: the attention of those is directed towards different things;
_. object-oriented attention: those depicted are looking at the same object;
semi-reciprocal attention: the attention of one person is on the other, whose attention is elsewhere. _(ibid.)
***In everyday interaction, a high level of gaze is widely interpreted as reflecting liking (Argyle 1975, 162). In some well-known studies Hess found that pupil dilation can also be a reflection of sexual attraction, and that photographs of female models in which the pupils had been artificially enlarged elicited unconscious pupil enlargement from male viewers (Hess & Polt 1960, Hess 1972, cited in Argyle 1975, 163). Knowledge of this has led some 'glamour' photographers to enhance their photographs in the same way and thus to increase the attractiveness of the model.
***The amount of gaze can also be related to status or dominance: higher status people tend to look more whilst they are talking but less when they are listening (Argyle 1975, 162). Joshua Meyrowitz notes that 'a person of high status often has the right to look at a lower status person for a long time, even stare him or her up and down, while the lower status person is expected to avert his or her eyes' (Meyrowitz 1985, 67).
***Codes of looking are particularly important in relation to gender. One woman reported to a male friend: ‘One of the things I really envy about men is the right to look’. She pointed out that in public places, ‘men could look freely at women, but women could only glance back surreptitiously’ (Dyer 1992a, 265).
***Writing in 1972, Berger insisted that women were still ‘depicted in a different way to men - because the "ideal" spectator is always assumed to be male and the image of the woman is designed to flatter him’ (ibid., 64). In 1996 Jib Fowles still felt able to insist that ‘in advertising males gaze, and females are gazed at’ (Fowles 1996, 204). And Paul Messaris notes that female models in ads addressed to women ‘treat the lens as a substitute for the eye of an imaginary male onlooker,’ adding that ‘it could be argued that when women look at these ads, they are actually seeing themselves as a man might see them’ (Messaris 1997, 41). Such ads ‘appear to imply a male point of view, even though the intended viewer is often a woman. So the women who look at these ads are being invited to identify both with the person being viewed and with an implicit, opposite-sex viewer’ (ibid., 44).
*******'Film has been called an instrument of the male gaze, producing representations of women, the good life, and sexual fantasy from a male point of view' (Schroeder 1998, 208).
***Traditional films present men as active, controlling subjects and treat women as passive objects of desire for men in both the story and in the audience, and do not allow women to be desiring sexual subjects in their own right. Such films objectify women in relation to ‘the controlling male gaze’ (ibid., 33), presenting ‘woman as image’ (or ‘spectacle’) and man as ‘bearer of the look’ (ibid., 27). Men do the looking; women are there to be looked at.
****E Ann Kaplan (1983) asked ‘Is the gaze male?’
* Paul Messaris notes differences in facial expression between models in high-fashion magazines and those in ads for less expensive products:
Models who display moderately priced clothing usually smile and strike ingratiating poses. But high-fashion models are generally unsmiling and sometimes openly contemptuous. So pronounced is this contrast that it is tempting to formulate it in a simple rule: the higher the fashion, the more sullen the expression. The supercilious expressions on the models’ faces serve to increase the desirability of what they’re selling by evoking status anxiety in the viewer. (Messaris 1997, 38-40)
Terminolgy
-scopophilia - the pleasure involved in looking at other people’s bodies as (particularly, erotic) objects.
-voyeuristic
--fetishistic
-In a study of advertisements in women’s magazines,
Reading Facial Expressions
Marjorie Ferguson (1980) identified four types of facial expression in the cover photos of British women’s magazines:
-Chocolate Box: half or full-smile, lips together or slightly parted, teeth barely visible, full or three-quarter face to camera. Projected mood: blandly pleasing, warm bath warmth, where uniformity of features in their smooth perfection is devoid of uniqueness or of individuality.
-Invitational: emphasis on the eyes, mouth shut or with only a hint of a smile, head to one side or looking back to camera. Projected mood: suggestive of mischief or mystery, the hint of contact potential rather than sexual promise, the cover equivalent of advertising’s soft sell.
-Super-smiler: full face, wide open toothy smile, head thrust forward or chin thrown back, hair often wind-blown. Projected mood: aggressive, ‘look-at-me’ demanding, the hard sell, ‘big come-on’ approach.
Romantic or Sexual: a fourth and more general classification devised to include male and female ‘two-somes’; or the dreamy, heavy-lidded, unsmiling big-heads, or the overtly sensual or sexual. Projected moods: possible ‘available’ and definitely ‘available’.
Trevor Millum offers these categories of female expressions:
-Soft/introverted: eyes often shut or half-closed, the mouth slightly open/pouting, rarely smiling; an inward-looking trance-like reverie, removed from earthly things.
-Cool/level: indifferent, self-sufficient, arrogant, slightly insolent, haughty, aloof, confident, reserved; wide eyes, full lips straight or slightly parted, and obtrusive hair, often blonde. The eyes usually look the reader in the eye, as perhaps the woman regards herself in the mirror.
-Seductive: similar to the cool/level look in many respects - the eyes are less wide, perhaps shaded, the expression is less reserved but still self-sufficient and confident; milder versions may include a slight smile.
-Narcissistic: similarities to the cool/level and soft/introverted looks, rather closer to the latter: a satisfied smile, closed or half-closed eyes, self-enclosed, oblivious, content - ‘activity directed inward’.
-Carefree: nymphlike, active, healthy, gay, vibrant, outdoor girl; long unrestrained outward-flowing hair, more outward-going than the above, often smiling or grinning.
-Kittenlike: coy, naïve (perhaps in a deliberate, studied way), a friendlier and more girlish version of the cool/level look, sometimes almost twee.
-Maternal: motherly, matronly, mature, wise, experienced and kind, carrying a sort of authority; shorter hair, slight smile and gentle eyes - mouth may sometimes be stern, but eyes twinkle.
-Practical: concentrating, engaged on the business in hand, mouth closed, eyes object-directed, sometimes a slight frown; hair often short or tied back.
-Comic: deliberately ridiculous, exaggerated, acting the fool, pulling faces for the benefit of a real or imaginary audience, sometimes close to a sort of archness.
-Catalogue: a neutral look as of a dummy, artificial, waxlike; features may be in any position, but most likely to be with eyes open wide and a smile, but the look remains vacant and empty; personality has been removed. (Millum 1975, 97-8)
Book
-READ Laura Mulvey’s Book
- Erving Goffman’s slim volume Gender Advertisements (1979)
- Foucault, Michel (1977): Discipline and Punish: The Birth of the Prison. New York: Pantheon
- Foucault, Michel (1977): Discipline and Punish: The Birth of the Prison. New York: Pantheon
- Morris, Desmond (1978): Manwatching: A Field Guide to Human Behaviour. St Albans: Triad/Panthe
- Nixon, Sean (1997a): ‘Exhibiting Masculinity’. In Hall (Ed.), op. cit., pp. 291-330
- **** Williamson, Judith (1978): Decoding Advertisements: Ideology and Meaning in Advertising. London: Marion Boyars
Men look at women. Women watch themselves being looked at’ (Berger 1972, 45, 47)
'to gaze implies more than to look at - it signifies a psychological relationship of power, in which the gazer is superior to the object of the gaze' (Schroeder 1998, 208).
a gaze of direct address which represents a demand for the viewer (as the object of the look) to enter into a parasocial relationship with the depicted person - with the type of relationship indicated by a facial expression or some other means (this form of address is the norm for television newsreaders and portraits and is common in advertisements and posed magazine photographs). _(Kress & van Leeuwen 1996, 122ff)
Several key forms of gaze can be identified in photographic, filmic or televisual texts, or in figurative graphic art. The most obvious typology is based on who is doing the looking, of which the following are the most commonly cited:
-the spectator’s gaze: the gaze of the viewer at an image of a person (or animal, or object) in the text;
-the intra-diegetic gaze: a gaze of one depicted person at another (or at an animal or an object) within the world of the text (typically depicted in filmic and televisual media by a subjective ‘point-of-view shot’);
-the direct [or extra-diegetic] address to the viewer: the gaze of a person (or quasi-human being) depicted in the text looking ‘out of the frame’ as if at the viewer, with associated gestures and postures (in some genres, direct address is studiously avoided);
-the look of the camera - the way that the camera itself appears to look at the people (or animals or objects) depicted; less metaphorically, the gaze of the film-maker or photographer.
In his study of women’s magazine advertisements, Trevor Millum distinguished between these forms of attention:
_. attention directed towards other people;
_. attention directed to an object;
_. attention directed to oneself;
_. attention directed to the reader/camera;
_. attention directed into middle distance, as in a state of reverie;
_. direction or object of attention not discernible. _(Millum 1975, 96, 115, 139)
He also categorized relationships between those depicted thus:
_. reciprocal attention: the attention of those depicted is directed at each other;
_. divergent attention: the attention of those is directed towards different things;
_. object-oriented attention: those depicted are looking at the same object;
semi-reciprocal attention: the attention of one person is on the other, whose attention is elsewhere. _(ibid.)
***In everyday interaction, a high level of gaze is widely interpreted as reflecting liking (Argyle 1975, 162). In some well-known studies Hess found that pupil dilation can also be a reflection of sexual attraction, and that photographs of female models in which the pupils had been artificially enlarged elicited unconscious pupil enlargement from male viewers (Hess & Polt 1960, Hess 1972, cited in Argyle 1975, 163). Knowledge of this has led some 'glamour' photographers to enhance their photographs in the same way and thus to increase the attractiveness of the model.
***The amount of gaze can also be related to status or dominance: higher status people tend to look more whilst they are talking but less when they are listening (Argyle 1975, 162). Joshua Meyrowitz notes that 'a person of high status often has the right to look at a lower status person for a long time, even stare him or her up and down, while the lower status person is expected to avert his or her eyes' (Meyrowitz 1985, 67).
***Codes of looking are particularly important in relation to gender. One woman reported to a male friend: ‘One of the things I really envy about men is the right to look’. She pointed out that in public places, ‘men could look freely at women, but women could only glance back surreptitiously’ (Dyer 1992a, 265).
***Writing in 1972, Berger insisted that women were still ‘depicted in a different way to men - because the "ideal" spectator is always assumed to be male and the image of the woman is designed to flatter him’ (ibid., 64). In 1996 Jib Fowles still felt able to insist that ‘in advertising males gaze, and females are gazed at’ (Fowles 1996, 204). And Paul Messaris notes that female models in ads addressed to women ‘treat the lens as a substitute for the eye of an imaginary male onlooker,’ adding that ‘it could be argued that when women look at these ads, they are actually seeing themselves as a man might see them’ (Messaris 1997, 41). Such ads ‘appear to imply a male point of view, even though the intended viewer is often a woman. So the women who look at these ads are being invited to identify both with the person being viewed and with an implicit, opposite-sex viewer’ (ibid., 44).
*******'Film has been called an instrument of the male gaze, producing representations of women, the good life, and sexual fantasy from a male point of view' (Schroeder 1998, 208).
***Traditional films present men as active, controlling subjects and treat women as passive objects of desire for men in both the story and in the audience, and do not allow women to be desiring sexual subjects in their own right. Such films objectify women in relation to ‘the controlling male gaze’ (ibid., 33), presenting ‘woman as image’ (or ‘spectacle’) and man as ‘bearer of the look’ (ibid., 27). Men do the looking; women are there to be looked at.
****E Ann Kaplan (1983) asked ‘Is the gaze male?’
* Paul Messaris notes differences in facial expression between models in high-fashion magazines and those in ads for less expensive products:
Models who display moderately priced clothing usually smile and strike ingratiating poses. But high-fashion models are generally unsmiling and sometimes openly contemptuous. So pronounced is this contrast that it is tempting to formulate it in a simple rule: the higher the fashion, the more sullen the expression. The supercilious expressions on the models’ faces serve to increase the desirability of what they’re selling by evoking status anxiety in the viewer. (Messaris 1997, 38-40)
Terminolgy
-scopophilia - the pleasure involved in looking at other people’s bodies as (particularly, erotic) objects.
-voyeuristic
--fetishistic
-In a study of advertisements in women’s magazines,
Reading Facial Expressions
Marjorie Ferguson (1980) identified four types of facial expression in the cover photos of British women’s magazines:
-Chocolate Box: half or full-smile, lips together or slightly parted, teeth barely visible, full or three-quarter face to camera. Projected mood: blandly pleasing, warm bath warmth, where uniformity of features in their smooth perfection is devoid of uniqueness or of individuality.
-Invitational: emphasis on the eyes, mouth shut or with only a hint of a smile, head to one side or looking back to camera. Projected mood: suggestive of mischief or mystery, the hint of contact potential rather than sexual promise, the cover equivalent of advertising’s soft sell.
-Super-smiler: full face, wide open toothy smile, head thrust forward or chin thrown back, hair often wind-blown. Projected mood: aggressive, ‘look-at-me’ demanding, the hard sell, ‘big come-on’ approach.
Romantic or Sexual: a fourth and more general classification devised to include male and female ‘two-somes’; or the dreamy, heavy-lidded, unsmiling big-heads, or the overtly sensual or sexual. Projected moods: possible ‘available’ and definitely ‘available’.
Trevor Millum offers these categories of female expressions:
-Soft/introverted: eyes often shut or half-closed, the mouth slightly open/pouting, rarely smiling; an inward-looking trance-like reverie, removed from earthly things.
-Cool/level: indifferent, self-sufficient, arrogant, slightly insolent, haughty, aloof, confident, reserved; wide eyes, full lips straight or slightly parted, and obtrusive hair, often blonde. The eyes usually look the reader in the eye, as perhaps the woman regards herself in the mirror.
-Seductive: similar to the cool/level look in many respects - the eyes are less wide, perhaps shaded, the expression is less reserved but still self-sufficient and confident; milder versions may include a slight smile.
-Narcissistic: similarities to the cool/level and soft/introverted looks, rather closer to the latter: a satisfied smile, closed or half-closed eyes, self-enclosed, oblivious, content - ‘activity directed inward’.
-Carefree: nymphlike, active, healthy, gay, vibrant, outdoor girl; long unrestrained outward-flowing hair, more outward-going than the above, often smiling or grinning.
-Kittenlike: coy, naïve (perhaps in a deliberate, studied way), a friendlier and more girlish version of the cool/level look, sometimes almost twee.
-Maternal: motherly, matronly, mature, wise, experienced and kind, carrying a sort of authority; shorter hair, slight smile and gentle eyes - mouth may sometimes be stern, but eyes twinkle.
-Practical: concentrating, engaged on the business in hand, mouth closed, eyes object-directed, sometimes a slight frown; hair often short or tied back.
-Comic: deliberately ridiculous, exaggerated, acting the fool, pulling faces for the benefit of a real or imaginary audience, sometimes close to a sort of archness.
-Catalogue: a neutral look as of a dummy, artificial, waxlike; features may be in any position, but most likely to be with eyes open wide and a smile, but the look remains vacant and empty; personality has been removed. (Millum 1975, 97-8)
Book
-READ Laura Mulvey’s Book
- Erving Goffman’s slim volume Gender Advertisements (1979)
- Foucault, Michel (1977): Discipline and Punish: The Birth of the Prison. New York: Pantheon
- Foucault, Michel (1977): Discipline and Punish: The Birth of the Prison. New York: Pantheon
- Morris, Desmond (1978): Manwatching: A Field Guide to Human Behaviour. St Albans: Triad/Panthe
- Nixon, Sean (1997a): ‘Exhibiting Masculinity’. In Hall (Ed.), op. cit., pp. 291-330
- **** Williamson, Judith (1978): Decoding Advertisements: Ideology and Meaning in Advertising. London: Marion Boyars
Men look at women. Women watch themselves being looked at’ (Berger 1972, 45, 47)
Wednesday 12 January 2011
Top Ten Comic Villains
10.Kingpin
9. Dark Phoenix
8. Loki
7. Ra's Al Ghul
6. Darkseid
5. Galactus
4. Lex Luthor
3. Doctor Doom
2. Joker
1. Magneto
Taken from:
http://www.comicbookmovie.com/fansites/geekboymovienews/news/?a=16095
I have chosen this list because the names above were suggested in alot of lists and these are all the average names in the lists.
9. Dark Phoenix
8. Loki
7. Ra's Al Ghul
6. Darkseid
5. Galactus
4. Lex Luthor
3. Doctor Doom
2. Joker
1. Magneto
Taken from:
http://www.comicbookmovie.com/fansites/geekboymovienews/news/?a=16095
I have chosen this list because the names above were suggested in alot of lists and these are all the average names in the lists.
Sunday 9 January 2011
Essay Ideas
From all of the lectures I particular liked the panoptigon and Adorno lecture.
The essay question that I want to answer, Can Adorno's theory towards popular music also apply to Graphic Design?
Maybe I could concentrate on a certain area within graphic design?
I would pick out the key subjects within Adornos views of popular culture and find out if the same key points can be said within graphics.
Maybe look at certain designs or designers to explore the theorys of Adorno's veiws on popular culture to relate to?
Or
Based on the gaze, How are men and women compared within advertising?
Base on two certain images or campaigns?
Michael Foucault
The essay question that I want to answer, Can Adorno's theory towards popular music also apply to Graphic Design?
Maybe I could concentrate on a certain area within graphic design?
I would pick out the key subjects within Adornos views of popular culture and find out if the same key points can be said within graphics.
Maybe look at certain designs or designers to explore the theorys of Adorno's veiws on popular culture to relate to?
Or
Based on the gaze, How are men and women compared within advertising?
Base on two certain images or campaigns?
Michael Foucault
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