Power of Photograph in Representing the Facts - Essay Example

Question Power of photograph in representing the facts based on image of a child in front of Russian military forces in Crimea. On a given photograph, an innocent small boy dressed in a military jacket and jeans is represented on a background of soldiers. In fact, in a description of this image there is mentioned the location that gives a context of the image. In this case, the event took place in the middle of Russian invasion on Ukrainian territory of Crimea. Hence, the soldiers were widely captured by occupying Ukrainian military bases. And so, based on a theory of visual culture and representation, this example is illustrative for the ideas of photographic objectivity, ideological meaning, and semiotics of imagination. To start with, the given image has the traits of an icon determined as “an image (or person) that refers to something beyond its individual components, something (or someone) that acquired symbolic significance” (Sturken and Cartwright, 2009, p. 444). In this context, the photograph of small Crimean boy can be considered as a symbol of innocence in front of Russian invasion. And so, it is reasonable to state that the photographer tended to bring sympathy in the heart of watchers as the child represents the lack of defense in front of military forces. Therefore, the symbolic notion provided by this image is evident as it has both denotative and connotative aspects in its content. Furthermore, the ideological aspect can be found in this image. Actually, the Western attitude to the current events in Ukraine in general and in Crimea in particular shows the total disapproval as the sanctions were implemented for Russian elite. For instance, BBC defined this operation as a “Crimean crisis” due to the “Russia’s move into Crimea” (Crimea Crisis, 2014). In such circumstances, presented image has an ideological message. While Ukraine is presented as a victim in Western media, the child from Ukraine symbolizes the whole country that is standing innocent in front of foreign troops. And so, the whole image has a powerful ideological message that supports the level of communication being held in public. Finally, the issue of objectivity is crucial for this image. In fact, each photograph can be considered as a sort of manipulation with public. As Victor Burgin (1999) mentions, “two images side by side tend to generate meanings not produced by either image on its own” (p. 44). In addition, the military jacket that is worn by this boy can be interpreted as a necessity to start a fighting in order to protect the homeland even though it is hard to resist adults. And so, in a current image due to the fact that it contains two different levels of representation the subjectivity of the photograph rises significantly. In order to sum up, the presented image by showing in its denotative dimension a child in front of soldiers has a powerful connotative background in terms of symbolization, ideology, and manipulation. Due to the fact that it refers to a current conflict between Russia and Ukraine, the photograph transforms into the tool of public opinion transformation in favor of Ukraine as a victim in front of pro-Russian soldiers. Question #2 Annie Leibovitz’s studio photo of Queen Elizabeth II. On a given picture, the British Queen Elizabeth II is presented by the American photographer Annie Leibovitz. On this photograph, the posture of the member of a royal family is standing alone in one of the rooms of the Buckingham palace. In fact, the furniture is shot as a dark background and the Queen is imaged as a bright spot on the left. Hence, such an image can be analyzed with the help of theories of Saussure, Pierce, and Barthes in terms of visual culture and representation. To start with, the photograph of the Queen is the sign in framework of Ferdinand de Saussure as it has both signifier and signified. According to Saussure (1966), a signifier is a certain group of sounds or painted elements, some sequence and movements. On a contrary, signified has a special sense that is hidden behind the surface with a symbolic meaning. All together, they form a sign (Saussure, 1966, p. 65). In this case, signifier is the composition of painted lines that form a contrast of light and shade on the painting. Moreover, the signified is an emotion of cold atmosphere in the room and dignity of royal representative. And so, the image can be interpreted as a sign of valuing the Queen in terms of merit and enlightenment. Furthermore, there are three different types of sign in Charles Sanders Peirces (1960) terminology: the icon, index, and symbol (p. 156-173). In particular, icon is close to Saussures definition of signifier (Pierce, 1960). In this case, the icon is Queen Elizabeth II who is presented on the photograph. In addition, index is closer to Saussures notion of signified as it contains context of meaning (Pierce, 1960). Actually, the chandeliers and furniture behind the Queen wearing furs are referring to her high position in the country and wealthy lifestyle. Finally, the symbol in Peirces theory is differing from all the other types of signs by absence of connection in its content between signifier and signified components. Therefore, the feeling of dignity that is brought by the posture of the Queen and the light composition of the photograph can be considered as a symbol. Finally, the denotation and connotation context are presented in this case. As Roland Barthes (1977) mentions, “the photograph, image without a code, must thus be opposed to the drawing which, even when denoted, is a coded message” (p. 43). Thus, the very nature of presented material in the case of demonstration of the Queens royalty can be considered as a message with denotation as a literal message and connotation as a symbolic one. And so, the denoted aspect of presenting the Queen in her house is supplemented by connotation with her high virtue, dignity, and solitude. In order to sum up, the photograph of Queen Elizabeth II is analyzed in structuralist framework using methodology of Ferdinand de Saussure, Charles Sanders Pierce, and Roland Barthes. Actually, the presented image contains all the aspects of sign in terms of signifier and signified, connecting different types of signs, and denotative and connotative context. And so, the photograph of the Queen has different dimensions in its symbolic meaning that include wealth, enlightenment, royalty, dignity and solitude. Question #3. Compare and contrast In the context of visual culture, the two presented images can be considered as good examples for analysis. Even though these pictures were taken in different circumstances and show various events, they both are illustrative in terms of semiotics. In particular, both photographs as signs include in their context two dimensions as denotation (signifier) and connotation (signified), have symbolic nature, and also contain ideological sense. Firstly, the dualistic structure is actual for both images. As for Crimean photograph, the posture of a child in front of pro-Russian soldiers as denotation element of the sign is completed by the connotation of rising feeling of the whole situation that is in unreal contrast. In the case of Queen Elizabeth II, the signifier is the posture of the royal member is her palace. In addition, the signified is the special atmosphere of dignity and solitude. Therefore, even though the emotional background and factual material is different in these photographs, the key elements are present in both of them. Secondly, these two photographs can be considered as symbols in typology of Charles Sanders Peirce (1960). As for Ukrainian case, the context of current political crisis in relations of Ukraine and Russia creates a symbolic message for the current photograph. In particular, the contrast between defenseless child and armed adults is bringing sympathetic sentiments. On the contrary, British Queen is presented in a respectable way on the background of dark lonely furnishing. Nevertheless, even though the atmosphere of these photograph is opposite, they both are signs. Due to the fact that symbol is a sign that shows unrelated internal structure, the point that both photographs were created in order to provide some feelings beyond their content makes them symbolic in the same way. Finally, both images are deeply ideological in their content. On the one hand, the small boy from Ukraine standing in front of foreign soldiers with the help of its symbolic meaning can be easily interpreted in terms of ideology. In this case, Ukraine is presented as an innocent child in a small military jacket (symbolizing the small military base in Perevalne) in front of numerous strong invaders. And so, people who feel pity to a child in the same time are supporting Ukraine in international relations. On another hand, presenting the Queen in a favorable way can be also considered ideologically. In fact, British royal family as almost the last stronghold of monarchy in a contemporary world can save its authority solely in terms of its merit. Therefore, such a picture is included in an ideological background of supporting monarchy. Hence, in spite of the fact that at the first glance the presented photographs are completely different, in terms of visual culture they use the same methods in order to create their meaning. In particular, the dual dimensions of their content creates the situation when the image has something more to tell the audience than what is simply captured. And so, the symbolic and ideological connotations appear in the same way, even though the are not the same in denotative aspects. Bibliography Barthes, R. (1977). Image-Music-Text. (S. Heath, Trans.) New York, NY: Hill and Wang. Berger, J. (2009). Ways of Seeing. New York, NY: Penguin Group. Burgin, V. (1999). Art, Common Sense and Photography. In J. Evans and S. Hall (eds.). Visual Culture: The Reader (44-50). London, Thousand Oaks, New Delhi: SAGE Publications Crimea Crisis: Russia and Ukraine Hold First Meeting (2014, March 24). BBC. Retrieved from http://www.bbc.com/news/world-europe-26725659 Peirce, C.S. (1960). Collected Papers of Charles Sanders Peirce. Cambridge, MA: Harvard University Press. Saussure, F. de (1966). Course in General Linguistics. (W. Baskin, Trans.) New York, NY: McGraw-Hill Book Company (Original work published 1916). Sturken, M. and Cartwright, L. (2009). Practices of Looking: An Introduction to Visual Culture. Second edition. Oxford: Oxford University Press. Read More