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Saying What We See: Visual Literacy and the Rhetoric of Images: Exercises

Saying What We See: Visual Literacy and the Rhetoric of Images
Exercises
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table of contents
  1. Front Page
  2. Acknowledgements
  3. Preface
  4. Introduction to Compositional Analysis
    1. Exercises
  5. Chapter One: Principles of Composition
    1. Exercises
    2. Exercises
  6. Chapter Two: Ekphrasis
    1. Exercises: Anne Sexton
    2. Exercises: W.H. Auden
    3. Exercises: Pascale Petit
  7. Writer's Corner: Writing the Visual Literacy Essay
  8. Writer's Corner: Integrated Quotations
  9. Writer's Corner: Sentence Types
  10. Chapter Three: Aura
    1. Exercises
  11. Writer's Corner: Writing the Rhetorical Analysis Paper
  12. Chapter Four: Aesthetics
    1. Exercises
  13. Chapter Five: Branding
    1. Exercises
  14. Writer's Corner: Writing the Research Paper
  15. Chapter Six: Representation
    1. Exercises
  16. Chapter Seven: Networks
    1. Exercises
  17. Synopsis: Labor and the Image Economy
  18. Open License Image Links

Exercises: Mechanical Reproduction

Exercise 1: Aura

Read the essay by Benjamin, focusing most closely on the first four sections (I – IV). Then answer the following questions in prose – about a paragraph each.

  1. What role does the “original” play in the concept of “authenticity”?
  2. How is technical reproduction distinct from manual reproduction?
  3. What role does history or “historical testimony” play in an object’s authenticity?
  4. How is distance related to aura?
  5. What does Benjamin suggest is the difference between art based on ritual and art based on politics?

Exercise 2: Film

This activity will allow you to use compositional analysis skills in a new arena – film analysis. It will also add some new film-specific compositional analysis principles and expand our compositional analysis vocabulary.

Find a still frame from Modern Times. Perform a compositional analysis of the still as if it’s a painting. Alongside the original set of compositional analysis principles (Balance, Stress, Leveling, Sharpening, Lower-left Preference, Attraction and Grouping, Positive and Negative) also consider:

  • Camera Angle and Distance
  • Lighting and Filters
  • Subject Matter
  • Costumes, Hair, Makeup, Accessories
  • Gestures and Poses
  • Rule of thirds (division of the film screen into thirds producing a more satisfying composition)

Exercise 3: Reproductive Organs

In 2008, an art student at Yale University repeatedly attempted to impregnate herself before inducing miscarriage two weeks later as an art project intended to serve as her senior thesis in her visual arts degree. The artwork caused great international controversy and a wealth of comment, including by Dayo Olopade in her essay “The Work of Art in the Age of Reproduction” in New Republic.

What connection does Olopade draw between Aliza Shvarts’s work and Walter Benjamin’s essay with her title? How does Shvarts’s work affect the “aura” of conception, contraception, and abortion? Explain in standard prose.

File:Model of a contraceptive pill, Europe, c. 1970 Wellcome ...

“L0059976 Model of a contraceptive pill, Europe, c. 1970” by Wellcome Library is licensed under CC-BY 4.0.

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Writer's Corner: Writing the Rhetorical Analysis Paper
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