Visual Methodologies: An Introduction to the Interpretation of Visual MaterialsThis book is an introduction to reading visual culture. It explains which methods are available to the undergraduate student and shows exactly how to use them. The book begins with a discussion of general themes and recent debates, on the meaning of culture and the function of the visual, that offers a critical inquiry into the relation of visual images to social identities and social relations. Gillian Rose then goes on to investigate in detail the different methods for interpreting visual images. The strengths and weaknesses of each method are discussed in relation to a detailed case study, as well as to the more general issues outlined in the introduction. |
Contents
7 Analysis of Chanel and Babe advertisements | 87 |
1 a Nineteenthcentury soft porn postcard | 109 |
3 Still from Hitchcocks Rebecca | 121 |
Copyright | |
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Other editions - View all
Visual Methodologies: An Introduction to the Interpretation of Visual Materials Gillian Rose No preview available - 2001 |
Visual Methodologies: An Introduction to the Interpretation of Visual Materials Gillian Rose No preview available - 2001 |
Common terms and phrases
advertising adverts AMNH analytical argues argument articulated aspects audiences Barthes camera castration complex chapter cinema claim codes colour compositional interpretation compositional modality concerned constructed content analysis critical visual methodology depend described diegesis discourse analysis discussion display Doisneau effects example explore fantasy femininity feminist Figure film focus Foucauldian Foucault gaze genre groups Haraway image's important institutions interviews kind knowledge Kress look Lutz and Collins masculinity meaning methods mirror stage Monaco Morley movie Mulvey Mulvey's museums and galleries narrative National Geographic notion objects offers painting particular photograph phrenology picture polysemy produce psychoanalysis psychoanalytic film theory referent systems reflexivity relation Rembrandt Rembrandt van Rijn says semiology sexuality shot signified signs social difference social modality sort space spatial organization specific spectator street photography structure Stuart Hall suggests technologies texts theoretical Tonkiss unconscious understanding viewer visitors visual culture visual images W.J.T. Mitchell Williamson 1978 women