Monica Estornell's Weblog

The two chapters on audiencing have an interesting relationship. Chapter 9 mainly touches on the way an individual or family interacts with a specific image, whereas chapter 10 focuses more on the social and cultural values associated with the image. In the beginning of the audiencing series the idea of the image’s content was still a factor for discussion, it played a role in how and why the individuals reacted to the image in a particular way, however the second portion of the series is directed at how the image is handled and the values it possess socially as an object, rather than an image. Chapter 10 is essentially asking the readers: aside from content, composition or artistic value what place does imagery hold in society; why; and how does it effect our treatment of that image?

It is interesting to explore the video clip of the Pink Panther opening sequence because of its social value. It is fascinating to gain a different perspective and understand it for its place in society. Being a film implies that it could have different attributes and create different connotations than a still image. It can create specific scenarios, such as a couples first date to see this movie or any movie. The concern does not lie in the film itself but rather in the connotation created by the film. Although, in my opinion, this method would almost always need to be accompanied by another method in order to come to a concise and understandable conclusion, I do feel that the flipped perspective is a good approach to gain a fuller understanding of the image and its grip, or lack thereof, on society as it becomes more of a symbolic valued object rather than a specific content with an image.

In the last several chapters, Rose informs readers about specific ways of exploring images where the main objective is to categorize imagery, to interpret and appreciate it for its aesthetic appeal, or to approach images by documenting and researching data on a wide scale in order to search for patterning among imagery. The chapter on audiencing is set apart from the others because it focuses specifically on the audience’s reaction to a work of art or a motion image.
Personally, I believe the audience is an essential part of image making, especially in graphic design. Graphic design is specifically for the people; its central purpose is to educate and inform people, and to draw them to the composition. If an artist creates an image he/she has to keep in mind that what is being created is not only for the view of select designers, rather for the common person; in most cases, the audience is composed of individuals who are not formally educated on design. Taking the audience into consideration is vital to creating a successful piece of work because if the masses cannot appreciate or relate to the work, then who can? An artist, specifically a graphic designer, cannot make an impact on society if he or she is only appealing to a small sect of designers who understand the work. This does not mean to dumb down what would be an amazing composition, in order to appeal to the masses, but rather to rid a work of its “artistic jargon” and make it appealing to all, while still respectful in the art world. That is where the true challenge lies and that, in my opinion, is the essence of art and design.
Understanding an audience makes an image more important. Looking through historical political posters and advertisements would be meaningless if a viewer was not educated on who these images were geared toward and the current events of the time period. Russian propaganda posters*, we can do it early feminist posters*, images of men wearing zoot suits in rebellion would all be meaningless with out a clear understanding of the audience at which they were directed.
Much like the historical posters mentioned, when focusing on the opening credits for the Pink Panther, it is important to understand who would typically be watching this scene. The Pink Panther is a comedy series released in 1963, whose plot focuses on a clumsy, mishap-prone inspector who is always off target in finding criminals. Viewers at the time were intrigued by the irony of people in powerful positions actually being silly, accident-prone characters. Other comedies of the time period include Get Smart a satirical comedy based on a gawky secret agent with ridiculous equipment*, and The Andy Griffith Show a family based comedy with a goofy law enforcement agent taking center stage as the shows comedian*. Understanding the humor of the time period helps to understand the audience and their appreciation for the goofy opening credits of the Pink Panther.

*
*
*
*

Discourse analysis (DA) is a way of looking at an image from several different spectrums to have a broad understanding of its effects in various environments. As a visual approach, DA helps to understand the way the human mind categorizes images depending on where, how, and by whom they are viewed. This method is similar to semiology, psychoanalysis (PA) and content analysis (CA) in that it suggests that images, in general, can always be interpreted for a deeper understanding. The difference between DA and the previously studied methods is that, unlike semiology DA is not attempting to uncover any myths; nor is it attempting to reveal the secrets of the unconscious like PA and finally it is not a way to identify patterning in large research based studies as seen in CA. DA focuses on the social scenarios provided by different images. It explores the different connotations that can be associated with imagery. Although this approach is reliable because if its attempt to capture many different realms of association, the final point made by the method can often times be a result of theories that were forced together to make sense. Still, DA does help to focus on the audience of an image; it gives designers a new perspective about the people looking at their work.

Even though I think this book, (and Gillian Rose*) is pretty ridiculous I can imagine this method being relevant to a working designer. It is important to understand, or at least have a hypothesis about how things are going to effect people and the different reactions an image has the capability of conjuring. If a designer wants to design an ad using images of people for example, it is important to ask certain questions: What age group will these people fall in?; What race will these people be?; Will they have dashing good looks, or will they be average people that everyone can relate to? Once a designer can answer these questions it is important for them to visualize the reaction of the general public once the image is published. (Ex: There is an image of an old lady on my hair spray; is this hair spray for old people?*) Designers must consider stereotypes that can be created from their work, as well as preconceived notions that go along with using certain images; therefore it is important to use DA to understand the possible impact of design work.

I was excited to see what kind of ridiculous information I could find that addresses American Apparel and their super-sexed advertisements. My first site was a personal blog where a man by the name of Michael Swaim who spoke first about the fact that he is, indeed, a straight, about to be married man, then about the sheer ridiculousness of the American Apparel Ad campaign. He mentioned how he finds it creepy that most of the models we see are supposed factory workers, and that the ads completely dumb-down viewers creating an awkward understanding while viewing them, and while being viewed viewing them (got that?), and on top of all the sexual mayhem and filth, there is a kids line. Enough said, thanks Mike.

From Mike’s blog, I looked at a review of current events surrounding American Apparel’s pro-gay magazine Butt*, according to this site and a few of other sites I encountered, the gay community is pleased with American Apparel’s unwillingness to step down for what they believe to be a positive support for the gay community. Although this commentary did not specifically talk about the ad campaign, it did speak of the company’s image as a whole, therefore I found it relevant to include. Finally I came across a personal blog by a screen printer. He wrote about the invasion of American Apparel solid shirts in the screen-print world, and how the product was quality, therefore it basically sold itself. He went on to say that the sexually driven ads produced by the company were not necessary or ethical. His final decision was to boycott the company and go elsewhere for his solid tees.

It is interesting to see the different ideas an image, or set of images, can invoke. I have concluded that the general public finds these ads to unnecessary and overly sexual. The smaller sects of people that support American Apparel, do not necessarily agree with the ad campaign, but rather in the general goal and approach of the company. As designers, it is important to hone in on the different reactions people have, in order to best capture them as your audience. DA’s approach for understanding the visual effects of an image is a good way to further understand your audience.

*Or Gilligan’s Island according to Hunter

* I think NOT!

SOURCES:
www.cracked.com/blog/american-apparel-ads-make-me-want-to-defile-things-i-shouldnt-want-to-defile/

www.edgenewengland.com/index.php?ch=style&sc=fashion&sc3=&id=87977

The sixth chapter of Visual Methodologies explores the visual study and approach of psychoanalysis. Psychoanalysis is a tool used for organizing thoughts of the unconscious mind. The unconscious can be defined as, innermost thoughts that have been suppressed by society’s standards of what is not acceptable, and result in an internal unnoticed emotion. Basically, the unconscious is a storage room for everything you want to think, or instantly think, but then decide is inappropriate. Aside from the unconscious, psychoanalysis has two main focuses, subjectivity and sexuality. Subjectivity is a viewer’s personal understanding and opinion about an image; it is created by various experiences in a viewer’s life. Sexuality is referred to in terms of gender, and gender roles.

In general, the contents of chapter had merit and presented valid arguments about the different ways people interpret images, they can accurately be applied to the image chosen. There were a few subsections that seemed far fetched, (i.e. the entire explanation on the castration complex) but that is just an example of my personal subjectivity and reaction to the text, it can still be applicable to the image. For this assignment it is appropriate to apply the theories of voyeurism and reflexivity to the Lace advertisement by American Apparel.

Voyeurism is the act of objectifying an image, more specifically a male objectifying a female. Rose explains more thoroughly when she notes that a female may be presented as threatening to the viewer at first, but she is ultimately portrayed as guilty and weak (Pg. 117). In the American Apparel ad, the model is shown in a confident pose. She is bent over backwards and giving viewers a confident, audacious stare. At first glace she can appear somewhat intimidating. So confident that she feels comfortable addressing you, as the viewer, with a somewhat Avant-garde pose wearing nothing but a lace onesie. Upon further exploration however, she can appear helpless.* Her gaze can quickly change from seductive and confident; to child-like and needy, which would in turn gives the viewer (specifically male viewers) control and power. The interpretation of the model’s gaze and her interaction with the audience is something that is understood to each viewer in a separate way.

The individual understanding/interpretation of an image is reflexivity. From my understanding, reflexivity is an elaborated version of subjectivity. Everyone will have a different reaction to something based on their own life experiences and what they have been taught to consider normal. For example, an Amish man who grew up on a farm with no electricity and generally no contact with urban society would more than likely be offended by this image. His own reflexivity would probably be intimidated and want nothing to do with this model or this company. To counter, a guy from Jersey Shore would probably be aroused by this image and interpret the model’s stare as Take me. I’m yours. I love tanning beds and six packs.* Both men interpreting this would (theoretically) have valid points because it is there own understanding of the image based on their upbringing and values.

Although this chapter had a lot of theories that I felt were difficult to apply in reality, they were still accurately applied to the image I chose. It is easy to understand an image from your own interpretation, but it can be interesting to view imagery based on another person’s reactions or understanding. Psychoanalysis attempts to understand society’s reign on the human mind, how it can mold and control our innermost thoughts and whether or not we chose to express them.

*Help! I’m stuck in a ridiculous onesie and I just threw out my back!

*I’ve never actually seen that show, that was completely based on assumption. (I’ve also never hung out with an Amish guy so that was based on assumption too)

Chapter 5 Blog Response Oct. 6, 2010

Exploring the Visual Methodologies text we have encountered numerous different ways of viewing and interpreting imagery. We read on compositional analysis; which speaks strictly on the visual strengths and weaknesses of an image. We also studied the ideas within content analysis; a researched based method that strives to obtain a general understanding for a series of photos (the photo series’ typically focus on large photo databases). Currently, our studies have taken us to the deeply interesting and easily grasped approach of semiotics. Semiotics is essentially the study of cultural interpretations of imagery and the roles of imagery in society.

As a practice, semiotics goes deeper into an image for it’s concept and content, so often looked over by the average viewer. In comparing the three unique approaches, it is easily understood that the compositional approach is a way to superficially view an image outside of its process and meaning; while the content analysis makes generalities for what most have already seen, just never categorized. Semiotics takes the interpretation to a different level of depth with its attempt to understand the true cultural meaning and purpose for an image.

Reading chapter five of Visual Methodologies I was struck by the section discussing audience interpretations. Although I have used the same image for all of my blogs, I feel as though it is again appropriate to discuss various visual and conceptual elements within my still image choice, the American Apparel “Lace” advertisement. I believe this image can be interpreted in several different ways due to its wide range controversial elements and qualities. The lace onesie and the model’s free flowing hair are the signs I have chosen that I feel are important to this image socially.

When referencing the chapter, I can categorize the signs I choose in various ways in order to more deeply understand the impact of this image. Age, when considering age the model pictured seems to be the epitome of young and vibrant. She is wrinkle-free, thin, flexible and of course she is clad in a transparent unitard. I think her age has a lot to do with how the lace unitard fits her; not just in a literal sense but also in her approach to the audience. If the model were 65 years old, even if she were a great looking, fit 65 year old, it would be strange to see her in the lace outfit pictured; it just would not fit her. However, the fact that what is pictured is considered “age appropriate” is what we are led to believe through the media; therefore it is our own social hindrance causing us to assume a 65 year old would look awkward in a see through pants onesie.*

After exploring age as a point of understanding, one can also delve into other areas which help to breakdown signs. Through the representation of expression it is easy to understand and see the models seductive expression as she looks directly at the viewer. When applying this to one of the chosen signs, the lace onesie; a viewer can come to the conclusion that this particular article of clothing makes you feel…seductive.

The model, we will call her Ramona, has her hair down and free flowing. Looking into the representation of activity we can associate her hair into positional communication. The free soft waves, not overly styled suggest to a viewer that they too will experience this liberating freedom if they join Ramona in this lace onesie parade.

Ramona’s lace onsie and free hippie hair can be looked into for several different reasons; but when applying the importance of her appearance it becomes more apparent that the advertisement was attempting to indicate to the viewer that they are capable of feeling like Ramona does here in this image. There is, however, always a fine line separating what one finds to be a whimsical relation to an advertisement, and where one may feel intimidated.

*Whether or not it is a social hindrance, it would be terrifying to see a 65 year old in this outfit.

SEPTEMBER 8, 2010

BLOG RESPONSE 2-CH. 3

When observing the American Apparel Ad, the viewer is able to determine a clear focal point; clarity is always a good indication that the image has a strong composition. While reading Chapter 3, I was able to pin point specific aspects of the image I chose, that correlate directly with Rose’s discussion on composition. Spatial organization, the importance of color, logic of configuration, the image’s content-both emotionally and compositionally, and the negative and positive space relationship are all different elements of composition that I was able to observe in my chosen image.
In this chapter Rose stresses the importance of composition. She poses an argument that discusses compositional value in an image over the importance of the artist’s social meaning, feeling, or fame behind an image. It is a basic format that explains how to realistically have a ‘good eye’ for art and imagery, without having to know all the fluff behind each piece. More art appreciation, less art history.
Reading chapter 3, there was a lot of commentary on compositional elements of an image. One of the things Rose discusses is spatial organization. Upon studying this image, it is obvious that the layout is very simple. The minimalistic background, forces the viewer to focus in on the highly contrasting figure to ground relationship. There are no distractions.
It is also important to recognize the color relationships that this image displays. The model is dressed in black lace, and all the text surrounding her is in black, while the background is stark white. She, however, is obviously a natural human skin tone which makes her stand out even more so in the image. Her highly contrasting view has a strong link to an element the book called ‘logic of configuration’ which, explains the way an image’s layout can force the viewers eyes to see the it in a particular way, and from a specific position. Here- we are forced to look directly at her, because that’s the way she is placed in the space, and it is the way she is ‘looking at us’.
Rose discussed in the text that it is important to look at the image and be able to ask yourself, as the viewer, (as well as answering as the viewer) what is really being shown here? Observing this particular image (we can be literal—just about everything is showing– seriously there’s no way this can be worn in public. Unless maybe you walk sideways everywhere, and have a person walking on either side of you…hmm that’s a thought) one can see her pose which only reveals what is wanted to be seen, as the viewer you are supposed to think outside of the image; in this case, think of how this lace onesie would look on you; or how it looks when standing normally, etc. The image also shows a sensual pose and expression on the model’s face; this is another aspect of the content of the image but it also touches on what Rose called ‘expressive content’. It is suggesting that she is sensual, but as the viewers we cannot actually see or tell if that’s how she is actually feeling, the image can only show so much.
As I mentioned in the previous blog, her pose creates a beautiful composition, the negative space is just as interesting as the figure. The minimalistic nature of this image is there for a reason; there is no need to flood the page with décor or other imagery.
It is interesting to see the way other people break down ideas like ‘composition’ into their own words. It was even more interesting to break down an image using Rose’s ideas of composition to explain my own thoughts about the compositional elements of this image. After reading through the chapter I began realizing how psychological design composition can be. As artists we’re forcing the viewer’s eyes to go wherever we want them to go. Creating successful compositions creates an opening for interest, growth, and originality, which in turn affects all design elements.

Pink Panther Opening Credits