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  • Visual Methodologies An Introuduction To The Interpretation

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    Amanecer Dwn
    12 vizualizări20 pagini
    - Rose Gilliam Cap 3-4

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    Visual Methodologies an Introuduction to the Interpretation

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    - Rose Gilliam Cap 3-4

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    © All Rights Reserved
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    12 vizualizări20 pagini

    Visual Methodologies An Introuduction To The Interpretation

    Încărcat de

    Amanecer Dwn
    - Rose Gilliam Cap 3-4

    Drepturi de autor:

    © All Rights Reserved
    Descărcați ca PDF sau citiți online pe Scribd
    Indicator pentru conținut neadecvat
    din 20
    EEF logies| : o sitional interpretation (Chapter 3 you were using compos ner Ot smple, than if i a (Chapter 4). However, they © omet ana Srparicular method When yor some aon bees your om statways importante seeing singly 0 sider the arch, you should also cons ages you ave been working with sing, But do you vi imag yout Dae o argument? Do you want fe sta yom po you want tem 0 sake che Sl 0 egy em me 7 envy sms ne» phar? (et 1 oar fees conssig ea pe wel ‘that some of the things you want t se Eo Et = sr photo-esay, Or you could annotate YOO ae wh se 9 ean es Fe 2 acre 0 a yroduce the SS caaloay ear in mind how you might repr Cee aot ttn rae sn cleat to your reader (ifyou have cut ing YO iy ae of the wosk) an ogy wo eprndace pols ima et hs are better copied this way eel as ges downloaded from the web, images you are re Sire eo ey ies of grey arc mus! suse the various shades ra inertia wane ex HY ein CD oF DVD feria, Sens standards of visual repr nan piel sos nes ser ah allow You esa maine a oa if chee sors of reproductions are or Pi there i usually no problem with copyThe However, if you think you mig publish sk, then you will often be egal ‘your work, t Miers ee ea cyt ha ca Loving (1985: 1 ina ert th cope wa 0% pubition nA pded to SOT ata need your yokes 8 ar kepmain ‘ and you ly obliged to obsain permissiog thee it, Rocemary Kakins and Elizabed Pose Wnsoal Tethodisto gre: 3 ‘the good eye’ looking at pictures using compositional interpretation ey example a review written by 2 journalist af an exhibiton of seventeenth ‘century paintings in the National Gallery, London, 1 compositional interpretation: an introduction ‘The frst criterion for a critical approach to visual imagery outlined in section 3 of Chapter 1 was the need to take images seriously. That is, i is crucial 10 look very carefully at the image or images in which you ate interested, because the image itself has its own effects. These effects are always embed- ded in social practices, of course, and may well be negotiated by the image's audiences; nevertheless, it seems to me that there is no point in researching any aspect of the visual unless the power of the visual is acknowledged, As = Norman Bryson (1991: 71) says of paintings, ‘the power of the painting i “ther, in the thousands of gazes caught by its surface, and the resultant cur “ig and the shifting, the redizecting ofthe discursive flow”. Paintings, like visual images, catch the gazes of spectators and affect them in some j and they do so through how they look. But how can you describe how an image looks? This c apter explores approach which offers a detailed vocabulary for expressing the appea:- EE of au image. [have chosen to call this approach ‘compositional int: ation. This is a teem I have invented for describing an approach Beery that has developed through certain kinds of art history. | need w Bint a term because the method has tended to be conveyed by example ABE than by explication (some exceptions to this generalization include 1997; Gilbert 1995; O'Toole 1994; Taylor 1957). This method depencs Bs Lc Rogoff (1998; 17) calls ‘the good eye that is, a way’ of looking Bngs that i not methodologically explicit but which nevertheless pro- Be SPccilic way of describing paintings. The ‘good eye’ pays attention to S2es a high Art, and rofuses to be either methodologically or theoret ct. Ie hus functions asa kind of visual connoisseurship. ne logies a ae aan oa vw eA ER a W® think we: carta how itis to Geol, to have been site ee eons con neat oe “ae works atts and schoo ithe air fit of ati sand indences, and second non. (Feraie 1995: 330) win ots mn chp wth hed at lew sac the sof yal hh at ht ete raging thir quality and hence tei place in. be to look at Retna a vanes pnts oi ails mentstons on me, aco ar breaking itunes cd candor That i HOW connoinsenr requires a lot of a certain ribed as ‘contextual information’ Developing the ‘good kind of what the previous chapter de ally, you need alot of knowledge about pari “dd, about the sores of visual imagery the Il his then used by the good eye" (0 asses sional iterpretation claims to look for say, what they do or how they Tooks mostly ache sie ofan image Td pays most (although not Specific: jcular painters, about re kinds of painting #h xy were 100k: ing at and being inspired by paintings for thei ‘quality Thus comps crimages for what they ae’ cater th cid nt ae be as Seiee eee ert sapataiae ina chtad Weegee ‘al feelings about iit is od, isa W, that Rem ‘were or are used, The ‘good eye’ therefore theif im order to understand is significance, 20 1 modality Mee er an approach lng established in ar history, itis usualy used in selasen to one of the sorts oF obects that art historians have radiionall lois fe ie pots Seudied: paintings. Ths chapter will mostly follow that practice» although sec- ‘are cooly dilapeel pean, aaa wl inzeodace some terms for describing the compositional modality of shoud ase. bo a oy wit tke Us 9 ery case study of compositional interpretation i arevie sar dian Seat in 1999 fr the Guardians newspaper of an exhibition f wSreponait by Rembrandt van Rina Duch painter who was bor 005 serra in 1669, Most of this review i epenced, wi ew of i Bie lls trations, below moving images. 1 ca pt tg eon figs te woo me: sete Soinorny Raneacts gees « pnea,Te gars mak os, a bors are wang ite nt fe bmg bribe ete Rab tl el Wants skorts pasos. aso Neri cree a fr eo frag Pen eat ecg ori ete er oman re Senet top bore ‘ $ nc tie hoc wi whe Passo cae tha ahi anne go hoa what pit Km unos = cp. aE elma Raxoek youn, ord aioe Oe rar crveckng Hembra givaorg opt moumed ba Tie | 2 rnp Reba osrod as an Onova afte, ROM rey el rant os buon nos rapes okra auperimpositions aphical plane and depth plane shots: shot distance: extzeme lng shot, long shot . bead and shoulders, closeup shot i thot faa: deep sallow sharp os satan 5 : le of approach, angle of elevation, angle o 2 an rare hr pon esblsig ea sone apm rll, he the camer eis 08D o Tracking and evane shots, when the camera itself moves “The montage of a moving image can be d 2 type of ext unmarked, fade, dissolve it, jump 0 rhythms “The sounds af moving images van be decsribed by considering thei: fontental sound, speech 2 ee ier allel, contrapuntal 2 tanto he mage ou, . Fal thing tat Monaco 200) oy le ae mierda is of film and to criticism of those 1 tu wih cee sein a va tt rl sss aera Thrace Sion 6m Cape wil representation ry 1 sugges tre overaping = in henge fea conde The he ame, Paral sound sound ive vocabulary, the mise-en-scene can be ful, three-quarters, medium, esribed with reference tt 5 compositional interpretation: an assessment Compositional interpretation offers ways of describing the content, colour, spatial organization, light and expressive content of a still image, and the mise-en-scine, montage, sound and (less centrally) the narrative structure of 4 moving image. This is very useful asa fise stage of getting to grips with an image that is new to you, and it remains useful as a way of describing the visual impact of an image. [nits concern for the spatial organization of an image, moreover, compositional interpretation may also bagia to aay somer thing about an image's possible effects on a spectator. However, in relation co the criteria for a critical visual methodology spelled out in Chapter 1, compositional interpretation has many shortcom- ings. Ir does not encourage discussion of the production of an image (other than of is rechological or compositional modalities), nor of how it might be used, understood and interpreted by various viewers. Mark Garrett Cooper (2002) has argued in relation to film chat the sort of approach outlined in section 4 here has difficulty engaging with che broader cultural meanings and resonances of particular films. And with its unproblematized concern for visual images ‘as they ar’, it does not allow for a reflexivity that considers she particularity of any intepretation. Thus compositional interpretation can ead up relying on notions of eonnoisseurship, or genius, or Art, for example, ss Seale’s essay does, which simply cannoe get to grips with the concerns of the previous chapter about the specificities of particular visuaies. le chus reeds 80 be combined with other methodologies in order 10 address these laner sorts of issues. In his discussion of film, for example, Monaco (2000) alo uses terms dravsn from semiology (sce Chapter §) to explore how films carry meanings. summary © associate with mpositona interpretation can (and should) be used in elation to any sort of ‘mane, butts roots le in certain triton of art history, and it continues tobe a0 on ts own rost often in relation to patings, > ses and modalities: Compositional interpretation pays some attention tothe production of images, ‘Specialy ter technologies, but is mosty concerned wit he image self ints ‘ampestonal mada, ey terms ezerding to compositional analysis, some of the key components of a stil image {els content, colour spat organzation, light and expressive content Moving #398 canbe described in arms oftheir mise-en-scine, montage, sound and Pave suture. i E ‘the good eye" = SSS visual methodologies for crtica visual methodology: oes to te mage which rl 3) this metiod ists unotrest inte social ‘© strengths and weaknesses his method demands careful ate discussion of images. A disadvantage 0 practices of visual imagery, Futana Jed apbr Tene nace Hw (aeons ile mae (ers caoracon by ana ha 9 se MBean ce fy ae ens, ch ing cy woah fr ill arcimages while 7) ve 7 oaching film, aring took 195 Read a Film (2000) is excellent i appr alo coves far moe oud : ‘of the inadequacies of this approach, and se ate urs ae i he eins Musing and Expo ica ear ello so atl just compost other (Baxandall 1972: 9). cy insighes into the content analysis counting what you (think you) see fey example a book by Catherine Lutz and Jane Collins which analyses reary 600 ofthe photographs published in the magazine National Geographic between 1950 and 1989, 1 content analysis: an introduction ‘This chapter discusses a method of analysing visual images that was originally developed co interpret written and spoken texts: content analysis. In one way, content analysis stands in sharp contrast to the method examined in the previous chapter. Whereas compositional interpretation is methodologically sent relying instead om that elusive thing called ‘the good eye’, content analy- sis methodologically explicit. Indeed, itis based on a number of rules and [Procedures thar must be rigorously followed forthe analysis of images or texts © 9 be reliable (on is terms). Don Slate puts the contrast berwcen these 1380 methods ito the broader context of social science and humanities research more generally. Speaking of che post Second World War period, he says ‘The mainline of development in (pariulisly Anglo Saxon) social science Was seacrure by the Meals of quantification and natural science methodol 6 In tis coment, social research which sell on cultural meanings as ats was seen at shaky and subjective, incapable of rigorous come Moreover, whercas interpretive, quilitative approaches to social action exwed fontholds m socal science, culkural texts seed to belong. in the oma of rerary of arteritis, which were iredeemably woolly and had ‘mor to do with refined ‘ulural appreciation’ than with any eradtion of ‘sumed analysis and investigation. (Slater 1998 233-4) Whereas what I have called ‘compositional interpretation’ would have seen as one version of ‘refined cultural appreciation’, content analysis fnacerned to analyse cultural texts in accordance with “the ideals of feation and natural science methodology’. It was frst developed in the a visual methodologies inteewar perio by social scientists wanting #9 measure the ‘accuracy new mass media, and was giver a ‘War, when its methods were elabor from German domestic radio explicit methodology, through whi ‘woolly but would be rigorous, reliable and objective equates reliability with quanscative med lear in his discussion of content analysis, content an: of the further boost during the Second World sed in order to detect implicit messages broadcasts (Krippendorf 1980). Hence its ich, it was claimed, analysis would not be analysis, and ee they i th conten nays reer a ean or of hia: ley Sea es Ba ecm et ek rer DOUSS SRA social theory, for example, Rather, like Christo concerned to avoid sachin trough phogaphs i ode ly tne vhs they hn hey ead se 7 already know about the photo, thd eave siete min comm nn ae ssearher to he methodologically exp ater than rly anon on unknowing on ‘ucnscio stategs Being so upton abou yore sort of reflexive research strategy, Collars syne haan ‘angue that its definition of ‘eliable™ hous of analysis (Ball and Smith 1998), However, ss Krippendorf (1980) makes alysis also involves ‘Some discussions of content analysis. 1992; Neuendort 20025 Slarer Crrious qualitative procedures sce abo Weber 1990), Instead of Focusing on the question of quantification, Krippendod?'s definition of content analysis tmphasizes two different aspects of what might be called natural scence Srehodology’s repicabiity and validity (these terms will be defined in etions 2.2 and 2.3 of this chaprr cespctively) ‘Content analysis he say, aarmrcarch technique for making replicable and valid inferences from data apahcie context (Keippendorf 1980: 21). Inline with the broad approach ro viaual images outlined in Chapeer 1, he insists that content analysis is 2 way vfanderstanding the symbolic qualities of texts, by which he means the way ‘har elements of a text always ref ro the wider cultural context of whic they are apart. Content analysis aims ro analyse those references in any oe group of texts in a replicable and valid manner. vvonetheles, studies using content analysis do tend 10 use lots of mabe to make thei points. This is because, in its concer fr repcaaley and valding content analysis offers a number of techniques for handling lange sumbers images with some degre of consistency. In thie stay of nearhy 600 of i ‘Photographs used in the magazine National Geographic over neatly Fccades, for example, Catherine Lutz and Jane Collins desided couse com satya, for just dis eason, Theis defence of content analysis SugBestS the visual critical methodology outlined i sine ein se, en Lr anu rc de this hhh con far tl al ode et Cp ote no ew measly ep pr smutty ofcamn aehpn os panohnentned eee sets nd ais 99) tokanis ces ofa casa sn nas wold ah pet ose oe srg images, however, There are aspects of vi eseeotich Sto werd ares. i cas clase one pe on my of hs the ge eb sy abate oducts i e aI roy mat esonpstona een what lied osay hoe to aes engl er wines ara Proponents faith in the replicability of content anah oa zi in section 2.3; critics like Michael Ball and Gregory sith (1990) an Bo ae (199 gett se dren ways dee ple ier Senco betcha we beac Fly oe a 0 argue thar content analysis cannot sati idithe Gall sigcace of imagine. Tas ater eric, seve gs mh suc ks Ben tcf te age * ne ‘content analysis and their broader cultural contes ecimde $ are tenuous, then this final criticism is valid. — This chapter examines content analysis by: , itis par content analysis can be useful fr # (Chapter 1 of his book: AXchoog at is blush tight appear eouterpoduecve sede the ct rate any photograph toa small umber of codes, quantification does nor preclude of subsiute for qualiaive analysis of the pictures. tr doer illow, however, covery of patterns that are 0 sub rorion against a unconsciows search through he fh confi one’s iia sense of wha tb EF retring nc : lain replicas and vali f Eersiog its procedural rules; ” “ sig ihe cn ofthe Kinds of ede ic proacy % ‘critical visual methodology outlined in Chapter i ie be wn 8 ‘sual inspecsion and magazine for only those whit hoeos say or do, Lt and Coli: 1993: 83) sing che This passage is worth expanding on, First like Krippendor, ches ave insisting that content analysis can include qualtasve interpreta ‘Content analysis and qualitative methods are not mutually exclusive Se rane Collins are suggesting that content analysis can reveal empl that might otherwise be overw' a hoy bur steps to content analysis Bee! thod oF conten an Thre ate ately based on counting the eqns of ein Jnelmed by the sheer bulk of materi i leary defined sample of images, and then analssing content analysis a ee ——————"__— «2 visual methodologies shove frequencies. Each aspect ofthis process has certain requiemers 2 veer to achieve replicable and valid results 2:1 finding your images As with any ocr metho ee ane queso being sks. Lu and Coin desis eh research question thus he images chosen for a content analysis emost wet, caceand history. We AWenern word, 2 rpic raising volatile sucs of fs Americans about who “son what popular eduesbon aor vor they wns, and what ou elaonstip sto them wanted 10 and Colne 1993 Given that research question, they then explain wy they chose Navona Geographic as an appropriate source of images Ar much consideration, we wed @ the examination of Natoma ‘Gecwrapne photographs as one of the mat cally valued ans PN oe des seaing Amica underscantings of and poss 10, he snd Collins 1993: wide the Unit Sse. (Ls wor “They point out tha National Geographics the third most power MAES They rc inthe USA, and that each suc is cead by an estimates » Sed that iis efiance on photography i rel rillion people worldwid the mporeance ofthe visual consretion of soca ference for cont rary W. Dt nwany other of the methods this book will discuss, howevet sents place fre trerares on thew of image. To bea with g sear amas address ll the images elevant 0 the research QUES sent anal gone for conte analysts about the reresetstiveness Thi ble data, Hf, for example, you ace intersted in easing he WO sraiuabty of facial ir om Bourges men i the rneeenth

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