Your analysis can be no better than the materials that you’ve read. You should use our shared readings when you can and when they are relevant. You should have found some great materials on your own, too. If you are writing about images of war or love or technology, then you should know some of the great analysis of such photographs that came before you. If you are writing about images of relationships, then you should know how to adapt some great analysis of images of places to improve your analysis of images of relationships. If you are going to use our shared, required readings, make sure you use them well. Don’t dump in terms and concepts that you don’t understand. (This is not a “cut and paste,” “connect the dots,” or “paint by numbers” task: It is YOUR Capstone Project.) You chose the images, connect them, make them talk to us. It must be YOUR analysis! Our required readings offer the examples of and standards for what you might do as a final project: Berger analyzed the August Sander photograph of the men in suits; he used his analysis to recontextualize the photograph and, thus, achieve an ‘alternative photography’ Sontag analyzed Diane Arbus’s oeuvre and offered general, brilliant insight into the nature of photography itself Barrett offered a simple method of considering the contexts and genres that frame photographs In ‘The Rhetoric of the Image,’ Barthes teaches about the cultural codes and linguistic messages that ‘frame’ a photograph Group mu showed us how plastic elements combine to form iconic elements from which the rhetoric of the image arises Maynard teaches how technology works in the human experience: he treats photography as an extension of our ability to detect and imagine. Elkins says that every photograph spawns an imagination of the body Kress and Van Leeuwen begin to lay out a ‘grammar’ of the photograph In Camera Lucida, moves past the cultural codes of studium to the fact that something that was there but isn’t anymore, the ‘that-has-been’ … He finds the noeme of photography in this phenomenon 11 attachments Slide 1 of 11 attachment_1 attachment_1 attachment_2 attachment_2 attachment_3 attachment_3 attachment_4 attachment_4 attachment_5 attachment_5 attachment_6 attachment_6 attachment_7 attachment_7 attachment_8 attachment_8 attachment_9 attachment_9 attachment_10 attachment_10 attachment_11 attachment_11 CMN 703 Final Project Proposal Yize Li 4/9/20 Pearl Harbor Attack Photography Analysis This project will focus on select photographs from the Attack on Pearl Harbor in 1941. The analysis will be based on the interpretation of the photographs in relation to their context, meaning, and rhetoric as demonstrated by different theorists. The three images of interest include the explosion of the USS Shaw, a photograph or young Japanese Americans listening to President Roosevelt’s declaration of war on Japan, and an abandoned, bombed car with its occupants during the attack. These three photographs are related in that they portray images connected to the Pearl Harbor attack and hence have the same context and background. The images interact with culture and politics by presenting a polarizing event in the history of America which led to the internment of Japanese Americans in the concentration camps and the entrance of America into the World War II. Basically, the analysis will begin with a contextual view of the images to present an understanding of the issues they represent. Moreover, the project will utilize several strategies to effectively analyse the photographs. First, Barrett’s strategies of description of photographs, comparison and contrast, and grouping photographs into different genres will be used. Barrett (2000) explains that the basic approach to photography analysis is to advance a description of the photograph. By describing the photograph, one starts to understand it better and hence they can interpret it accurately. Barrett (2000) also proposes the use of comparison and contrast, especially of photographs taken by the same person. In this case, comparison and contrast is justified since the photographs revolve around a common event and hence comparing them will reveal deeper insight into their composition. Lastly from this theorist, the project will classify the photographs as ethically evaluative due to their controversial topic of Pearl Harbor bombing. Using Barrett’s strategies, it will be possible to produce a basic understanding and classification of the three photographs. In addition to Barrett’s strategies, Berger’s (2011) will be used in further analysis of the photographs due to the theorist’s analysis of physical character. Berger analyses the men in suits in August Sanders photography and hence sets a means of observational analysis of photographs. He presents an analysis that considers photographs the representation of human choice and unprejudiced observation of the nature of things (Berger, 2011). This approach can be used in questioning the human choices and physical character of the three photograph of interest for the project. It will, therefore, be one of the approaches in the project. The other major theorist to be referenced in this project will be Roland Barthes and his analysis of cultural codes as they are connected to photography. Barthes (1993) attempts to place photographs in a cultural context and this approach is effective in analysing the intentions of a photographer when they produced a certain image. His strategies will be used to further support the interaction of the three photographs with culture to produce meaning for the involved stakeholders. Overall, the three theorists will produce the main strategies for the final project involving the three photographs and additional research performed in relation to the photographs will be used for the analysis. The three photographs further present rhetorical appeal to the audience as a means of communicating to them. Rhetoric is evident in the images in each of the three photographs and also when the three are taken together. First, two of the three photographs display the damage caused by the attack, including dead people left in a car that was attacked. These images present an emotional message in their presentation of destruction and devastation. The third image of the young men listening to the news presents the rhetoric through the look on the men’s faces. Generally, the project will analyse how the rhetorical appeal of the three images strengthens the meaning of the photographs and affects viewers’ understanding of the war. In addition to the shared reading in class, this project will utilize at least two more sources to inform the analysis. The sources considered necessary for the project analysis include a journal article by Purdy (2018) discussing the USS Arizona exhibition and a book chapter by Kjeldsen (2017) which discussed how media uses photographs for rhetoric purposes. The importance of these two sources is in their discussion connection to the specific photographs for this project. For instance, the US Arizona exhibition includes the three photographs to be discussed in this project. Moreover, the chapter handling press photography is useful in discussing rhetoric of photographs displayed for public viewing such as the three in this project. In general, the analysis of the three photographs of Pearl Harbor attacks is crucial in understanding how observational photographs can communicate meaning. The photographs can be said to be unprejudiced observations of the events surrounding the attacks. Therefore, by analysing them, it will be possible to point out how photographs communicate meaning to the viewers and how this meaning is articulated using different strategies. The overlying analytical purpose will be to understand how the photographs together convey a meaning of Pearl Harbor attacks and their effects on Americans. References Barrett, T. M. (2000). Criticizing photographs: an introduction to understanding images (3rd Ed.). Mountain View, CA: Mayfield Publishing Company. Chapters in this reading present the basic approaches of analysing photographs from description to classification and analysis of their meanings. The author has presented a guided analysis of how to describe photographs with examples and his analytical approach is useful in developing an informed analysis of any photographs. Barrett is a renowned art critic and his work is thus credible and trustworthy, forming a basis for analysing and criticizing different types of art. The book chapters will be used to guide the primary analysis of the project photographs. Barthes, R. (1993). Rhetoric of the Image. na. This writing by Roland Barthes analyses rhetoric in images by looking at their language and communication with the reader. The author starts with an analysis of a print advertisement to demonstrate the author’s understanding of rhetoric and how it intersects with language and culture. It then goes into details about photography analysis. Barthes was critical in developing various theories of semiotics and his work is commendable in this article. It will be utilized to analyse how culture and context interact with visual art to produce meaning. Berger, J. (2011). About Looking. New York, NY: Vintage. This chapter of the book presents a critical analysis of August Sanders’ photographs of peasants in suits. The author analyses the physical character and observations of the photographs in this series and how they portray the culture and character traits of the participants. Through his analysis, he portrays a strategy of critical photography analysis and hence creates a basis for analysing other photographs as well. This source will be used to provide an analysis of photographs based on the physical characteristics displayed in them and the cultural context of the same. Kjeldsen, J. E. (2017). The rhetorical and argumentative potentials of press photography. Multimodal Argumentation and Rhetoric in Media Genres, 51-80. This chapter reviews how press photographs are used for rhetorical and argumentative purposes. It focuses specifically on the 9/11 attacks on U.S soil and hence presents an analysis of epideictic rhetorical functions of these photographs. Kjeldsen is a professor of rhetoric and visual communication at University of Bergen, Norway, and hence is an authoritative voice to use in this analysis. The resource will be utilized in advancing the rhetorical analysis of the three photographs to be considered in this project. Purdy, T. S. (2018). Case Studies in Campus and Community Outreach: The Life and Legacy of the USS Arizona Exhibit and the 75th Anniversary of the Bombing of Pearl Harbor. Journal of Western Archives, 9(1), 2. This article reviews the USS Arizona Exhibit and the representation of the bombing of Pearl Harbor. The article analyses how photographs represent the events and also how the photographs form a memory of Pearl Harbor. The resource is useful in that it covers the photographs which are considered in this project and also presents a critical review of the exhibit as a whole. It will thus be used to inform the context and cultural code within which the photographs were taken and the themes which they represent as well. Roland Barthes’ Rhetoric of the Image And Group Mu Barthes’ three levels of photographic meaning: • Linguistic Message • Non-coded Iconic Message • Coded Iconic Message The Linguistic Message • Anchorage • Relay Non-coded Iconic Message • Denoted Meaning – It is what it is Coded Iconic Meaning • • • • Source of image’s rhetoric Connotative meaning The codes are taken from our cultural lore One connotation of every photograph is that it is a denotation Group Mu ‘We define rhetoric as the regulated transformation of the elements present in a statement in such a way that the receiver will have to dialectically superimpose a conceived level on the perceived level of an element in the statement’ • perceived and conceived aspects of the image • plastic and iconic elements Purchase answer to see full attachment Explanation & Answer: 8 Pages Tags: Camera Lucida Rhetoric of Pearl Harbor Attack Photographs cultural codes of studium User generated content is uploaded by users for the purposes of learning and should be used following Studypool’s honor code & terms of service.