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part shows something that is real, practical, ‘scientific’. Is your image
divided like this?
Left/Right
: The left part of an image often gives a context in which the
information on the right should be understood (e.g. an ‘expert’ on the
left introduces a product shown on the right). Does your image have a
left-right structure? If so, does the left-hand-side information give a
context?
H. Framing
Are the elements in the picture shown as a whole, or are they separated
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in some way by ‘frames’ (i.e. lines formed by part of the setting, or by
tools people are holding, or by shadows, etc.)?
If the elements are shown as a whole, what kind of category do they
belong to? Can you give the category a short title?
If the elements are separated by frames, why has this been done? Do
they simply belong to separate categories? Are they antagonistic to
each other, or is there a problem of communication between them?
I. Important information
What do you see in the
foreground
and
background
of your image? The
important information is usually in the foreground, closer to the
viewer. Is this so for you?
Is some element in the picture
foregrounded
in another way – i.e. does
some aspect of the lighting, focus or colour bring it to your attention?
Why has it been singled out so?
J. Images of action
In your image, is someone or something acting upon one of the other
elements in the image? If so, is this a physical action (e.g. kissing,
shooting, following) or a mental action (e.g. watching, desiring,
disliking)?
How is the action portrayed – by gesture, gaze, expression on face, or
by means of a
vector
, that is, a line tracing a path from one element or
character to another, drawn for example by a tool, or a ray of light, or a
pattern on the image?
What kind of people/things are the actors or viewers in your images?
What kind of actions do they perform? What kind of people/things are
acted upon or looked at by others in the frame? Across a variety of
images, do
patterns
emerge about the kinds of thing certain cultural
groups do (e.g. housework, driving certain cars, particular types of
play)?
Are you, the viewer, ever acted upon or observed by an element in the
picture? Do fingers, guns, gestures indicate to you? How are you
expected to respond to these forms of address, threat and invitation?
K. Descriptive images
If no vectors or actions are taking place in the image, then you are
probably only expected to observe it. Consider the
purpose
of your
observation. How are you expected to respond to what is described by
the image:
desire it?
be revolted by it?
admire it?
despise it?
use it as a role model?
avoid it?
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be amused by it?
ridicule it?
imitate it?
be shocked by it?
understand it?
condemn it?
What does your expected response reveal about the cultural norms
assumed by the producers of the image? What kind of images describe
admirable qualities, and what kind of images describe qualities to
avoid and condemn? Do you always agree with the norms which are
assumed? Are they constant over time? Do certain groups in society
challenge those norms visually – by exaggerating them or subverting
them? If so, how?
L.From reality to abstraction
Does the content of the image seem ‘realistic’ or ‘unrealistic’? How is
the degree of ‘reality/unreality’ achieved?
•
use of colour/monochrome film
•
sharpness of focus (soft focus to very sharp focus)
•
saturation of colour (from very pale, to very rich)
•
degree of detail given
•
(im)possible perspectives
Does the title help you interpret the image, or is the interpretation
deliberately left open? How much does the viewer have to work with
the image to create meaning? Do you enjoy working this hard, or do
you feel cheated and frustrated by the lack of guidance?
M.Image and text
Look again at the diagram of the composition of an image (Figure 7.4).
How is the text positioned with respect to the image? Is it:
•
to the left, providing a context?
•
to the right, providing an explanation?
•
at the top, expressing an ideal state?
•
at the bottom, grounding the image in reality?
•
at the centre, demanding our attention?
•
at the margins, providing a gloss, or extra information?
•
superimposed, and at one with the image?
•
framed separately, providing complementary info?
•
parallel to the image, suggesting similarity?
•
at an angle to the image, suggesting otherness?
•
supplied by speech or thought bubbles from a character?
Of course, not every image will interact with the text according to the
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general ‘rules’ suggested above. However, the suggestions will provide a
starting point for considering
how
text and image interact.
Finally, words from another language can be imported, almost as visual
images into the texts of another culture. If you can, investigate how French,
German, Italian and Spanish words are used in advertising in anglophone
countries. Or consider how English is used in advertising in non-
anglophone countries. What do your findings suggest about the relative
influence of one culture on another, and how one culture perceives the
other?
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