Development of Photography in the Media

Development of Photography in the Media Kim Hwang In the incunabula or ‘swaddling stage’ of a medium, certain kinds of conventions are set that later get refined or challenged. Look at photography and/ or the cinema and discuss how these media emerged and then found stable forms. In the beginning, photography was a tough process. Getting a suitable picture required long exposures to the camera and processing time. The use of different materials shortened down the time frame substantially and made it more convenient for people to take pictures. It soon became a process many people wanted to use to capture moments of time. Soon, photographers found that they could manipulate the pictures and form illusions. A picture by an unknown photographer called â€Å"The Ghost of Milton† featured a solid human being with a transparent person standing beside him giving the illusion of the man being a ghost. Since usually pictures captured the real (making viewers felt as though they had been at the location of the picture and had seen what occurred with their own eyes) it made it seem as though ghosts are real. Cinema progressed in a similar way. It started out by simply capturing everyday events such as a baby eating a meal with its parents. It progressed to creati ng illusions by starting and stopping the recordings and adding effects. In the movie Voyage to the Moon the wizards took a trip to the moon and ran into unfriendly aliens. The wizards would hit the aliens with their wands and once hit, they would disappear into a puff of smoke. Even though that would never be able to happen in real life, the movie made viewers think it was actually possible because they were so fully invested in the movie. In these movies the camera was stuck in one location having the actors move instead of the camera. Later on the camera started moving so the viewers can see more of the scenery and feel more incorporated in the atmosphere. It also started zooming in and focusing on certain objects or people as a subtle foreshadowing. In Andre Bazin’s What is Cinema?, he talks about how the director would focus on the actor and his expression, then to food, and then on the actor moving towards the food and let the viewer figure out the storyline. There was also the example of the Kuleshov effect. There would be pictures of a blank faced actor and when paired with a coffin, the viewers would get the implication that the actor was sad. When paired with food, the viewers thought the actor was hungry, and when paired with a picture of a woman, the viewers thought the actor was portraying lust. With these techniques, the movie Triumph des Willens showed the death of a baby without using gore. There was a scene of the baby in the tram, a man with a knife, and a woman wailing with broken glasses and blood on her face. It explained to the viewer the horribly unfair death of an innocent baby without fully writing everything out for them. What does photography take from painting, and what does cinema take from photography? How do older and newer media relate, and in what ways does each new medium relate to and differ from its predecessors? Paintings, photography, and cinema are all connected to one another. Photography learned from its predecessor, paintings. Paintings always had a clear central focus. Since it was such a laborious process to paint a full painting, artists would pick an important object to focus their attention on. For example, Leonardo DeVinci’s painting The Last Supper focuses on Jesus as the center of the painting. All angles of the building in the background and the positioning of the other 12 disciples point as Jesus being the most important person. Photography also taught cinema that the audience has an imagination. Not everything needs to be perfect and realistic for the viewers to ‘see’ what the director wants them to ‘see’. In the book Film: A Very Short Introduction by Michael Wood he talks about a movie depicting a fake cardboard rock structure with a photographed sea. But, viewers still understand that the ship is out in the water and they are seeing it thro ugh a cave and still feel a part of the scenery. Photography also taught cinema the movement of still pictures. Multiple shots of a horse running showed that at one point all four hooves are off the ground, something cinema could never show. But alone, the photographs could never show a horse actually moving. But, flipping through the photos quickly easily shows the smooth gait. Cinema easily used the still shots of photos to emphasize points in the movie and to build up tension. For example, in Gone with the Wind, while Scarlett is running away, she hits an area with fire spreading through a train that was transporting explosives. The horse is frightened by the fire and does not want to move causing the viewers to be nervous, unsure if they will escape before everything blows up. The camera continuously cuts to the box of explosives and one could clearly see the fire moving dangerously closer. As the tension builds, Scarlett finally gets away and the watchers can finally â€Å"bre athe† again. We get similar feelings from just three simple pictures of still pictures of a lion statue in the movie â€Å"Battleship Potemkin†. Sergie Eisenstein used the three shots of the lion in between the footage of the opera house being leveled. The three pictures showed the lion in different positions making it look as if one lion was standing up, representing the people rising out of anger evoking â€Å"emotional and intellectual response†. The use of emotion to get a point across strongly is also taught by photography. Punctum in photos is something that, as Roland Bathes says in Camera Lucida, â€Å"pricks†¦and bruises† the viewers by having something in the photo that does not seem right and therefore it sticks with the viewer. In cinema, they use something similar such as the baby and the violence in â€Å"Battleship Potemkin† that would make the violence seem more intense, making the act of killing the baby stick with viewers. What is the photography effect? Can we discuss a similar â€Å"cinematic effect,† and if so, how would you describe it? Early on, photography was only used to capture the regular. But soon, the photographer Felix Nadar wanted to make something artistic out of the simple photos. But he had an issue, how was he going to make art when â€Å"photography was automatic and you press a button and capture the already existing perfection†? He easily solved this problem by using his signature style of switching up the positioning of the people he was photographing also changing the lighting. Shadows and angles quickly showed up and added a new dimension to each of the pictures. The photograph of Sarah Bernhardt shows clearly what can be done with the correct lighting and positioning. The light hits her from the left side adding in several shadows at the slightest curve. It adds sharper angles on her face emphasizing her already attractive features. As a result, the picture seems slightly more realistic. It feels as if she is sitting in the room, sitting right in front of you as the light comes in from th e side. With humans as the object of the photo, we, as viewers, feel more connected to the picture. Cinema does similar things creating â€Å"a gaze, a world, and an object, thereby producing an illusion† as said in Visual Pleasure by Laura Mulvey. For example, the videos of factory workers leaving the building and made the viewer feel as though they were standing in the middle of the road with swarms of people going around them. It then moves to more interesting and complicated techniques such as the positioning of the camera and the light during black and white movies. In the movie, Double Indemnity the camera moves to different locations in the room, which makes viewers feel as if they are in the room with the couple. Also, since the movie is black and white, the producers needed to make sure the lighting was perfect enough for the film to capture facial expressions. The facial expressions in film were a large part the movie-audience connection. In Gone with the Wind viewe rs watch as Scarlett schemes how to get more attention from her male companion by her facial expressions while trying on the bonnet. Viewers knew exactly what was going on in her mind without words or sound. Photography and cinema used the same techniques to include the audience by making the unreal seem real.

China – the aims and effects of the one child policy

A variety of social policies aimed at controlling population change have been established around the world. But in this answer I will be evaluating a very controversial example of a policy that aimed to tackle rapid population growth by reducing fertility rate (also known as anti-natalist) – China's One-Child Policy. During the second half of the twentieth century, the Chinese government became concerned about the population growth; this is mainly due to the philosophy of the government under Chairman Mao, in the mid-twentieth century, which was that ‘a large population gives a strong nation' and so the government encouraged people to have more and more children. This consequently led to an increase in population of 55 million every year and a famine in 1962 which caused nearly 30 million deaths. This massive growth in population forced a policy change in 1974, in order to avoid a Malthusian-type disaster in the future (The theory that population increases more rapidly than the food supply leading to famine and, inevitably, death). It encouraged the country to reduce the birth rate by the slogan ‘wan-xi-shao' which called for later marriages, longer gaps between children and fewer children. However, this policy was not effective enough, and the population continued increasing and did not follow the pattern of the DTM (demographic transition model). This then led the government to introduce the one-child policy in 1979, which set strict limits on the number of children that a couple were allowed to have. In order to further enforce this policy; strong pressure was put on women to use contraceptives (e.g. contraceptive pills) which were more widely available. Special family planners and ‘granny police' were introduced in order to make sure that women were practising contraception and were instructed to report any pregnancies. The government also introduce incentives like; free healthcare and education for one child and then fines for more than one child. Also, more controversially, enforced late abortions and sterilisation became common, which mainly human rights activist heavily criticised and opposed. However, the policy had very negative effects on the country. Firstly, it led to female infanticide; where couples preferred sons, and baby girls were killed so they could have another chance of getting a boy. This occurred more often in rural areas, where there was less control from the government, and also where traditions were most important. This was mainly because male descendents were preferred as they can carry on the family name from generation to generation. This male dominance led to an imbalance in male to female sex ratio, where the number of men far exceeded that of men. This then further lowered fertility rates as there weren't enough women ‘to go round'. As well as an imbalance in the sex ratio, where was also an imbalance in the age ratio, as the policy vastly increased the dependency ratio and the country suffered from an ageing population. This was mainly due to the ‘4-2-1' situation, which meant that ‘1' child had to look after their ‘2' parents and ‘4' grandparents all at the same time and because of the increasing life expectancy. The policy also led to social implications on the child itself, such as the spoilt ‘little emperor' syndrome where the attention of the family fell on one child. It is also suggested that it had a negative effect on the child's social skills, as they grew up with no other siblings, therefore found it harder to integrate into society and led to poor communication skills. However, from 1990 onwards, the policy was slightly relaxed in order to combat some of the problems. For example, only-child couples were allowed to have two children, in order to relieve some of dependency on the children and also because they were concerned about the economic implications of an ageing population. In addition, the policy became harder to enforce for reasons such as the revolution in global communication and socialisation, which opened up the country to much greater social influence from the west. However, in more remote parts of the country, the policy is still encouraged. For example, the authorities in Guangdong (state capital) order 20,000 abortions and sterilisations by the end of 2001. Despite all of the negative implications, the decrease in overall population growth has had some positive effects, such as the positive economic growth. This was mainly due to the major decrease in demand for resources to support the needs of the population, which in turn led to a reduction in the stress placed upon the environment. There was also a drop in unemployment due to labour surplus and more disposable being available due to less money being spent on children. In conclusion, I believe that the one-child policy was a very brutal policy that disregarded the basic human rights of people and that a more gentle approach should have been taken. However, there is no argument that population management was inevitable in order to maintain a high standard of living, and that the one-child policy has avoided a Malthusian-type disaster (e.g. famine and war) and has better stabilised the population of China. This is because 400 million births were prevented and the annual growth rate had fallen to 0.6% as well. It is also clear that the policy is evolving for the better, as by 2006 the Chinese government moved towards a more health-orientated policy and committed itself to implement international agreements, promoting mother and child welfare.

A Secret Weapon for Literary Analysis Outline

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Documenting The Depression Essay - 1041 Words

Documenting the Depression: The FSA photographers and Rural Poverty nbsp;nbsp;nbsp;nbsp;nbsp; The Great Depression fell hard in the year of 1935 bringing what seemed to some people the end of the world. But in truth, the Great Depression was nothing near the end of the world, in fact the year of 1935 was not the first year nor was it the last year that many families had suffered and went hungry due to lack of work. Families forced to leave their home. Children going in hunger while their bellies pierced with pain. Mothers trying desperately to keep the family together while holding the brunt of the problems due to the depression. The husbands feeling the guilt for not having a job and thinking that it is his fault. Children scream†¦show more content†¦Because of that exhibit, people discovered that some things had not changed at all since than: rural poverty, racial discrimination, and social injustice. The exhibit helped shed new light to what really happened during those times. For the people that went through the depression, it may have brought back memories †Å"Don’t forget were you steamed from† someone once said and for the people who may never know what it is like to be taken away from all you know and forced to live in poverty, it helped shed new light to the meaning, â€Å"There is no place like home.† nbsp;nbsp;nbsp;nbsp;nbsp;The pictures show the evidence. The faces of the people, worn out and etched with worry. The children full of dirt and grit. The families gathered around but with no smiles. I will never know exactly how hard those times were for those people, nor will anyone else who did not live in those times. But the pictures, well they speak for themselves. I was asked to answer the question, â€Å"What messages did these photographs send to middle-class Americans who saw them† but my only conclusion is fear. I do not think that they felt guilty during that time period because it wasn’t them. I actually think that they considered themselves lucky and considered the poverty stricken to have gotten what they deserve. The once-fertile farmlandsShow MoreRelatedSocial And Social Support And Spirituality1590 Words   |  7 Pagesand assess her risk for dementia (Appendix I) (Borson, Scanlan, Brush, Vitallano, Dokmak, 2000). She scored a 5, indicating a negative screen for dementia. The client scored a 3 on the Geriatric Depression Scale (Appendix J) (Kurlowicz, 1982), indicating that she is not likely suffering from depression, but she may be at risk for it. The concerns for M.L. are that she often feels very bored, lonely, and unmotivated. M.L. stated that she slips into moods were she cries a lot and feels so hopelessRead MoreThe And Purpose Of The Self Efficacy Theory1635 Words   |  7 Pagesencouragement. The adult might want to keep documenting it so that they get the messages and see what the program says about their reading. 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