Photojournalism

manipulated photo

original photo

I would like to argue about the importance of ethics in photojournalism. This is because I do not have a clear picture about ethics in photojournalism. Which to do and which is not.

I use the same photo that I can find from the web and compare them. One is a manipulated image and the other is the original photo. The manipulated image use croping and alteration of lighting which indirectly change the context and meaning if we use it in photojournalism. This manipulation is not ethical because it does not represent the factual narratives to the readers. Professionalism in photojournalism is also important to shows the world that journalism also obeys rules and regulation. But, by manipulating the photo, it can destroys the world’s perception about the profession of journalist. Wheeler (2002) agree with Phil Hood statement that “[Photojournalism] aimed to stop us and focus us, bringing us into the now, face to face with reality.” –Wheeler, 2002, page 12.

In conclusion, the importance of ethics in photojournalism is because to give factual information or story of the event, shows professionalism in photojournalism to make good impression aboutjournalist and to avoid misleading interpretation of information by the readers which then will create controversial and effect politics. According to Bersak (2006) in his  book ‘Ethics in Photojournalism: past, present, and future’, he question that “If ethics in photojournalism is about being “faithful and comprehensive,” is intentionally underexposing or poorly focusing unethical? Some of these questions sit on the line between journalistic ethics and professionalism.”- Bersak, 2006, page 8. The argument is critique by Bugeja (2007): “Journalism educators spend so much time training students to work in one medium or across media platforms, offering up lessons to look “out there” for news, photographs and clients, rather than “in here” for directions on how to serve the audience, maintain standards and act conscientiously as a professional.”

References:

Wheeler, T. 2002. Phototruth or photofiction? Retrieved from: http://books.google.com/books?hl=en&lr=&id=aM5nla36jcIC&oi=fnd&pg=PR13&dq=Ethics+in+photojournalism&ots=XynUOi452T&sig=BnNc3kcR-w6aiDs1F_SuTNFWybM#v=onepage&q=Ethics%20in%20photojournalism&f=false

Bersak, D. 2006. Ethics in Photojournalism: past, present, and future. Retrieved from: http://web.mit.edu/drb/Public/Bersak_CMS_Thesis_FINAL.pdf

Bugeja, M. 2007. Living Ethicss across Media Plateforms. Retrieved from: http://www.livingethics.com/miscellaneous/prospectus.pdf

Information Graphic

The results in graphical form, the center curved line with the flat top is the Section 2000 value.

 I want to argue about why people need to present their data in graphical form. My reason of studying this is because I am curious whether presenting information in graphical form can be more convenient compare to data.

“Graphical presentations can be used to communicate information in relational data sets succinctly and effectively…novel graphical presentations about numerous attributes and their relationships are often difficult to understand completely until explain…One way of alleviating this problem is to design graphical presentation systems that can work in conjuction with a natural language generator to produce “explainatory captions”. “ – Mittal, 1995, page 1. Thus, with the help of computers in creating graphic aids, it is possible to create a graphics with improved rendering, real-time interactivity, and dramatically lower cost. (Card, 1999, page 1)

I will use the raw data table (at the bottom of the page) and the result of data in graphical form (shown at the top) as my comparison.

The diagram use line graph to show the trends of data in specific values. It includes all of the information in the raw data given which can results in precise prediction. Compare with the raw data table, it only gives an abundance of information without presenting the trend and prediction of the results for the future use. Thus, presenting data in graphical form is more convenient than just presenting the fact or the raw materials.

In conclusion, people present data in graphical form is because it can be interpret easily by the readers, better understanding can improve decision making for the future use, and also convenient in terms of cost and time. Like stated by Harrower (2008) “ Uncertainty arises from both an imperfect understanding of the rare evenys and processes we wish to study…..and the imperfect, out-of-date, and incomplete data we must work in order to try understand these events and processes.” – Harrower, 2008, page 1.

References:

Mittal, V.O.& Roth, S.& Moore, J.D.& Mattis, j.& Carenini, G. 1995. Generating Explainatory Captions for Information Graphics. Retrieved from: http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.73.1166&rep=rep1&type=pdf

Card, S.K. & Mackinlay, J.D.& Shneiderman, B. 1999. Readings in Information Visualization: using vision to think. Retrieved from: http://books.google.com/books?hl=en&lr=&id=wdh2gqWfQmgC&oi=fnd&pg=PR13&dq=information+graphic&ots=okGL3umINz&sig=bW1yInDe5WX4HZZvBsoAGZX8B7A#v=onepage&q=information%20graphic&f=false

Harrower, M. 2008. Representation Uncertainty: does it help people make better decisions? Retrieved from: http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.73.1166&rep=rep1&type=pdf

The raw data in tabular form

Games and Avatars in the Information Age

I wish to argue whether human nowadays is a cyborgian in nature. The reason why I want to study about this argument is because in my everyday life, I mostly rely on technology to make my life easier for example messaging using hand phone, accessing internet almost everyday with my laptop and make use of car to go to the university.

I use a documentary ‘Beyond Human: The Cyborg Revolution’ as my analysis. The link of the video can be found below:

http://www.youtube.com/watch?v=urVXWUD8Q3Y

The video documents the invention of cyborg in human community nowadays where scientist can repair a disable body part by inserting metals and so on into the human body to make it at a function. For example, a blind man can see again after the tiny chip is inserted in his retina, a man with a rechargeable cell heart can continue his life, a disable man’s leg is substituted by metals which then enable him to walk again, and etc. They are called cyborg because they are half human and half machines. They might do not want to be a cyborg because there are effects following the procedure. According to Haraway (1991), “There are several consequences to taking seriously the imagery of cyborgs as other than our enemies. Our bodies, ourselves; bodies are maps of power and identity. Cyborgs are no exception. A cyborg body is not innocent; it was not born in a garden; it does not seek unitary identity and so generate antagonistic dualisms without end (or until the world ends); it takes irony for granted.”- Haraway, 1991, page 180. The substitution of human body part can gives a greater to the cyborgian because it might liberate the human spirit, soul, conciousness, or will if choices, rational thought, and morality reduces to the flux of atoms or particles. (Muri, 2007, page 34) The machine in their body might remain forever even after they died. Thus, cyborgian can only live with their life like that since they have no much choice. This is mostly due to survival.

As stated by Bell (2000), “…David Hess’ essay ‘on low-tech cyborgs’ argues persuasively that ‘almost everyone in urban societies could be seen as a low-tech cyborg, because they spend large part of the day connected to machines such as cars, telephones, computers, and, ofcourse, televisions’ – and he goes on to ask whether even ‘ a person watching a person watching TV might constitute a cyborg’ (Hess 1995: 373).” – Bell, 2000, page 6. In conclusion, I was considered as a cyborg since I spend large part of my day using machines to make my life easier. And it is true that human nowadays is cyborgian in nature since they have been using excessive technology including altering human into machines (in other word altering cyborgian identities).

References:

Bell, D. & Kennedy, B.M. 2000. The Cybercultures Reader. Retrieved from: http://books.google.com/books?hl=en&lr=&id=MKtr_svfY1kC&oi=fnd&pg=PA291&dq=cyborg&ots=9dzHkU37JD&sig=VF7AdAyjwpc1CkxP1qiuwQfbWhw#v=onepage&q=cyborg&f=false

Haraway, D. 1991. A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century," in Simians, Cyborgs and Women: The Reinvention of Nature, pg. 149-181. Retrieved from: http://www.stanford.edu/dept/HPS/Haraway/CyborgManifesto.html

Muri, A. 2007. The Enlightment Cyborg: a history of communications and control in the human machine, 1660-1830. Retrieved from: http://books.google.com/books?id=oG21cTO7o2YC&printsec=frontcover&dq=cyborg&hl=en&ei=qLXUTKK3EI2GuQPS3PHtCQ&sa=X&oi=book_result&ct=result&resnum=8&ved=0CEkQ6AEwBw#v=onepage&q=a%20man-machine&f=false

Cinema and Television: Cultural Literacy

I want to argue if it is true that television and film could affects our perception of reality and changes the politics of our identities. The reason why I am investigating this issue is because sometimes, I find myself was being influenced by certain ideas from the film and believes that what was being portrayed in the film is the representation of reality.

I use one of the P.Ramlee film, ‘Madu Tiga’ which is in Malay Language. Only Malays and Malay literate community can understand the story and all the jokes embedded in the film. Because as stated by Hirsch (2001), “Knowledge of words is an adjust to knowledge of cultural realities signified by words, and to whole domains of experience to which words refer. Specific words go with specific knowledge.”- Hirsch, 2002, page 2.

As stated by the writers of the book ‘The New Dictionary of Cultural Literacy’, “When people hear the term cultural literacy, they sometimes associate it with artistic CULTURE- with opera, BALLET, painting, poetry, sculpture, architecture, and classic music. These fine arts are, of course, only part of cultural literacy, but they do make up an important domain of experience that people must aware of to communicate with the other literate people in our society. For many people, the appreciation of the fine arts helps brings satisfaction, joy, and meaning to life; and every person deserves to be exposed to good arts, whether popular or classical.” - Hirsch, 2002, page 163. Thus, the classic song by P.Ramlee in this film also considered as cultural literacy which brings upon the meaning of the story as well as representation of reality.

This film is a story about a married man, Jamil (starring by P.Ramlee) who has three wives. He manage to deals with the situation by playing tricks and lies but in the end, everything reveal as his wives finds out that there were married to the same man (Jamil). As a punishment, Jamil is require to be fair by alternately staying with each of his wife in the rotation of ranking (the first wife comes first, then the second and later the third). In the end, they are all happy with it and agree to be husband and wives again.

The story influences my perception of reality that having three wives is not that bad. However, I do not like the idea because I’m a woman. I do not like being two or three- timing by guys, so I go against it. But, for guys, they might influence by the concept of having two or three wives is good as long as you know how to handle the situation by playing tricks and so on. This perception of reality will indirectly change the politics of their identities and their desire of having two or more wives.

According to the writers of the book “Presence: human purpose and the field of future”, “When I say “We see the world not as it is but as we are,” I’m offering it as a timeless leadership lesson consistent with Humberto’s groundbreaking work in the biology of cognition. We all tend to think of ourselves as objective observers, but none of us are. If I want to see things change ‘out there,’ first I need to see change ‘in here,’” – Senge, 2004, page 9. In conclusion, everything we observe will affect our perception of the world or reality. Since its effects our perception, thus, politics of individual identities is also shaped by the representation of the world. Though it is not much, but some will do.

References:

Hirsch, E.D. 2001. Cultural Literacy. Retrieved from: http://projec12.fatcow.com/Background/culliter.pdf

Hirsch, E.D. & Kett, J.F. & Trefil, J.S. 2002. The New Dictionary of Cultural Literacy. Retrieved from: http://books.google.com/books?hl=en&lr=&id=GAzOg4eQl2YC&oi=fnd&pg=PR7&dq=cultural+literacy&ots=Gt-c_PXq_-&sig=cFOD5eksSf1v6VzMKbP91iVg9sE#v=onepage&q=cultural%20literacy&f=false

Senge, P. & Scharmer, C.O. & Jaworski. J. & Flowers, B.S. 2004. Presence: human purpose and the field of the future. Retrieved from: http://www.janetmccallen.com/PDFs/Presence.pdf

Photography

 

I want to argue about the relationship of memory and space in the photograph as well as its cultural critique. The reason why I want to study this matter is because I want to know if one photograph has a cultural critique in it.

Photograph is capture for the purpose of inventing memories of what we want to remember or recall as we see it again. This is because photographs can trigger our memories about our thought and feelings at that time. As Kavanagh (2000) stated, “A clear distinction can be drawn between which is valued for itself (chosen and cherished objects) and that which triggers a host of memories (photographs).” (Kavanagh, 2000, page 20) Such as photograph above, it generates my feelings of being there and something I thought when I capture it. Cultural memories which I can observe here is the old wooden-still-houses on the water.

 Photographs can tell us the time and spaces in which the event takes place by identifying the material in the photograph. According to Lury (1998), “…there is a recognition of productivity of ‘the proliferation of “passage” or “contaminations” between images, in which the creative interdependence of time and space may be explored, leading to ‘the materialization of linkages in time and space that enhance understanding’ (1995:46; quoting the artist Ester Parada).” I use the photograph above for my investigation. In the photograph above, the cultural spaces can be seen though the motor boat, modern girl and the modern clothes.

According to Marcus (1999), " ...cultural critique by which modern anthropology has partly justified itself as a field of knowledge." - Marcus, 1999, page 111. Cultural critique can be obtained from the photograph by combining its cultural memories and spaces. In this case, the old wooden-still-houses on the water indicated the traditional water villages and on the other hand, the presence of motor boat, the modern girl and the modern clothes represent the modernization of the people. Thus, when I combine the cultural memories and space, the cultural critique results from the photograph above would be the modernization in the water village.

In conclusion, cultural memory and space is interrelated with each other in order to give out the cultural critique of one photograph. In other word, cultural memory and space are very important components which can exist in every photograph taken.

Reference:

Kavanagh, G. 2000. Dream Spaces: memory and museum. Retrieved from: http://books.google.com/books?hl=en&lr=&id=xxuKLVrH0yEC&oi=fnd&pg=PP8&dq=relation+of+memory+and+space+in+the+photograph&ots=su-zFJRHIi&sig=EHGjjxTud6SQItHNARN8KhBxgfQ#v=onepage&q=cultural%20memories&f=false

Lury, C. 1998. Prosthetic Culture: photography, memory and identity. Retrieved from: http://books.google.com/books?hl=en&lr=&id=-iFC3nzVIuwC&oi=fnd&pg=PA1&dq=relation+of+memory+and+space+in+the+photograph&ots=MziHIuTcn9&sig=1dPP3XccHb8wGHcu24eDa8ir58o#v=onepage&q=relation%20of%20memory%20and%20space%20in%20the%20photograph&f=false 

Marcus, G.E & Fischer, M.J. 1999.Anthropology as Cultural Critique: an experiment moment in the human sciences. Retrieved from: http://books.google.com/books?hl=en&lr=&id=oStfoHG0ovIC&oi=fnd&pg=PR7&dq=culturalCritique&ots=4Weq8jX9iT&sig=rcZJTYb8DvM3DxHp9e77KSWrTJ8#v=onepage&q=cultural%20%20critique&f=false

Visual Narratives

http://www.youtube.com/watch?v=xZfyBK3m1d0

I wish to argue whether syntagm will change or not if we alter the paradigms of the film. The reason why I want to investigate this matter is because I have found much similar films use the same storyline but has different paradigms such as its actors, setting and genre.

The writers of the book 'New Vocabularies in Film Semiotics : structuralism, post- structuralism, and beyond' agree with Saussure that both paradigmatic (which often called 'associative' by Saussure) and syntagmatic are two fundamental types of relationship which involve signs. (Stam, 1992, page 9) For example in alphabetical language. If words is our paradigm, then when we combine the selected words(paradigms), it will give us a sentence (syntagm). (Adedimeji, 2005) Like what Fiske (2002) state in his book “ Introduction to Communication Studies”, “A paradigm is a set from which a choice is made and only one unit from that set may be chosen…We can sum up by saying ‘where there is choice there is meaning, and the meaning of what was chosen is determined by the meaning of what was not’.” – Fiske, page 57 and 58. Fiske also defined the term syntagm as the collection of chosen paradigm. (Fiske, 2002, page 58)

http://www.youtube.com/watch?v=0gfZnWVoqZ8

I am using the films ‘Meet the Spartans’ and ‘300’ as my analysis. The films link can be seen below the caption of the images.

‘300’ is an American action film which is adapted from the graphic novel of the same name by Frank Miller, starring by Gerard Butler as King Leonidas: King of Sparta, Lena Headey as Queen Gorgo: Queen of Sparta and Rodrigo Santoro as King Xerxes: King of Persia. On the other hand, ‘Meet the Spartans’ is a parody film in 2008 which mentioning many movies, TV shows and people pop cultural events. However, it is primarily focused on the film ‘300’ (2007). The film is starring by Sean Maguire as King Leonidas, Carmen Electra as Queen Margo, Ken Davitian as King Xerxes. Both films share the same basic storyline: Warriors of Spartan gloriously fight with a millions of Persian soldiers. And in the end, they died with honors in the battlefield.

When comparing the films, most of paradigms in ‘300’ have been altered. The most obvious one are actors and genre. In ‘Meet the Spartans’, King Leonidas is starring by Sean Maguire while in ‘300’, it is by Gerard Butler. The change of actors does not affect the storyline because as we know the basic storyline of both films is the same since ‘Meet the Spartans’ is the parody of ‘300’. In addition, the genres of the films also change from action to epic comedy. This is because they have change the way the characters speaks. Thus, it alter the paradigm of the film. Both the time setting of the films are suppose to be in the era of Roman Empire. But there are clashes of time in 'Meet of Spartans' where innovation such as car, fashionable cloths and robot can be observe in the film. All of these innovations are the paradigms which symbolize the modern culture, space and time. But, although most of the paradigms are changed, the storyline (syntagm) remains the same.

In conclusion, altering paradigm did not change the syntagm (storyline) of the film. The only thing which can change the syntagm is if the characters change what they says as well as the script. Hence, it will change the entire storyline.

References:

Adedimeji, M. A. 2005. Word Structure in English. Retrieved from: http://www.unilorin.edu.ng/unilorin/publications/ADEDIMEJI/WORD%20STRUCTURE%20IN%20ENGLISH%20final%20submission.htm

Fiske. J. 2002. Introduction to Communication Studies. Retrieves from : http://books.google.com/books?hl=en&lr=&id=J3XzYCuDLNYC&oi=fnd&pg=PR11&dq=paradigm+and+syntagm&ots=1-D6TqXbFS&sig=jrOy3UMRZVIZsDpA5JjNjBJBdJg#v=onepage&q=paradigm%20and%20syntagm&f=false

Stam, R. & Brugoyne. R & Flitterman- Lewis, S. 1992. New Vocabularies in Film Semiotics: structuralism, post-structuralism, and beyond. Retrieved from: http://books.google.com/books?hl=en&lr=&id=LeNOhp54ieUC&oi=fnd&pg=PR9&dq=syntagm+in+film&ots=BMbHsFJyvU&sig=gQ9fJqZih5Spm8mw5wqeE90Xa1Y#v=onepage&q=syntagm%20in%20film&f=false

Rhetoric And Persuasion

 

" " SPEECH designed to persuade" ( dicere ad persuadendum accommodate) : this is the basic definition for rhetoric ( and its synonym, " eloquence," ) given in Cicero himself, cites it as something taken for granted, as the first thing the student of rhetoric is taught. Three hundred years before him, Aristotle's Art of Rhetoric had similarly named "persuasion" as the essence and end of rhetoric, which he defined as " the faculty of discovering the persuasive means available in a given case." " - Burke, Kenneth, 1969, page 49.

The advertisement above had drawn my attention and persuaded me. Thus, I use it to make an analysis for rhetoric and persuasion.

Visual rhetoric is more or less the same as verbal rhetoric but in verbal rhetoric, it miss some of the component for example the images and symbols. As stated by Charles and Marguerite in their book " Defining Visual Rhetorics" , "...verbal expression of the argument is equivalent to the visual argument...verbal extraction leaves out completely the enormously evocative power of the visual imagery and symbolism of the actual visuals making up the ad." - Hill, Charles A. and Helmers, Marguerite H., 2004, page 50. 

The rhetorical argument here is deductive. 

Premises1: she used the perfume. 

Premises 2: she is beautiful, exotic, attractive, seductive and untamed.

Premises 3: if I use the perfume as well I'l be like her too. 

Conclusion: I should buy the perfume.

According to Stephanie and James in their book " Public Speaking: The Evolving Art", "...no one has to say anything in the ad- you know how to interpret those visual claims based on your social and cultural experiences. One key reason that visual claims work so well is the naturalistic enthymeme- audiences assume that unless there's evidence to the contrary, a camera captures a realistic and natural view of what they would see." - Coopman, Stephanie J. and Lull, James, 2009, page 395. Thus, I conclude all these by using visual enthymeme; the dark background and the red color contrast signifies exotic, the snake signifies the wildness, her face signifies beauty, and her pose and body language signifies the seductiveness.

The concept for the advertisement is 'hypnotic poison'. People will be hypnotize when they smell the perfume and then, automatically attracted to you (if you use it). 

The proposition for this advertisement is the promise of beauty, attractiveness, seductiveness and wildness for the user.

Reference:

Burke, Kenneth. 1969. A Rhetoric Of Motives. Retrieved from: http://books.google.com/books?id=y44o7549eC8C&pg=PA49&dq=rhetoric+and+persuasion&hl=en&ei=-wuUTI2zMsercZC8kKQF&sa=X&oi=book_result&ct=result&resnum=2&ved=0CDAQ6AEwAQ#v=onepage&q=rhetoric%20and%20persuasion&f=false

Coopman, Stephanie J. and Lull, James. Public Speaking: The Evolving Art. Retrieved from: http://books.google.com/books?id=LUaXyJYUtOkC&pg=PT414&dq=Visual+enthymeme&hl=en&ei=KCaUTMKsFMmXcdLnjaQF&sa=X&oi=book_result&ct=result&resnum=10&ved=0CFcQ6AEwCQ#v=onepage&q=Visual%20enthymeme&f=false

Hill, Charles A. and Helmers, Marguerite H. 2004. 1st Edition. Defining Visual Rhetorics. Retrieved from: http://books.google.com/books?id=ZFzq3B1FRSgC&pg=PA50&dq=Visual+enthymeme&hl=en&ei=KCaUTMKsFMmXcdLnjaQF&sa=X&oi=book_result&ct=result&resnum=2&ved=0CCkQ6AEwAQ#v=onepage&q=Visual%20enthymeme&f=false