- notions of censorship and truth
- the indexical qualities of photography in rendering truth
- photographic manipulation and the documentation of truth
- censorship in advertising
- censorship in art and photography
The camera never lies
Ansel Adams - Moonrise Hernandes New Mexico, c. 1941 - 2
iconic, quality or common
Moon over half dome, 1960
Aspens - manipulation in dark room alters what shows
DOCUMENTARY PHOTOGRAPHY:
- real life events
- propaganda
- photographer renders the truth
- is it true? does it matter?
- people being removed from photographs
‘Five years before coming to
power in the 1917 October
revolution, the Soviets
established the newspaper
Pravda. For more than seven
Decades,until the fall of
Communism, Pravda, which
Ironically means “truth”, served
the Soviet Communist party by
censoring and filtering the news
presented to Russian and
Eastern Europeans’
Stalin with, and without, Nikolai Yezhov
Stalin with, and without, Trotsky
Robert Capa - not real name or real image. Staging an image
Death of a Loyalist Soldier, 1936
- Elliot Aronson in Pratkanis and Aronson, (1992), Age of Propaganda, p. xii
‘With lively step, breasting the wind, clenching their rifles, they ran down the slope covered with thick stubble. Suddenly their soaring was interrupted, a bullet whistled - a fratricidal bullet - and their blood was drunk by their native soil’ – caption accompanying the photograph in Vue magazine
Persuasion - ‘a deliberate and successful attempt by one person to get another person by appeals to reason to freely accept beliefs, attitudes, values, intentions, or actions’.
-Tom L. Beauchamp, Manipulative Advertising, 1984
‘Abstraction today is no longer that of the map, the double, the mirror or the concept. Simulation is no longer that of a territory, a referential being or a substance. It is the generation by models of a real without origin or relativity: a hyperreal. The territory no longer precedes the map, nor survives it. Henceforth it is the map that precedes the territory
– precession of simulacra’
-Jean Baudrillard, Simulacra and Simulations, 1981, in Poster, M. (ed.) (1988), Jean Baudrillard: Selected Writings, Cambridge, Polity Press, page 169
-Jean Baudrillard, Simulacra and Simulations, 1981, in Poster, M. (ed.) (1988), Jean Baudrillard: Selected Writings, Cambridge, Polity Press, page 169
Censorship
The practice or policy of censoring films, letters, or publications
The practice or policy of censoring films, letters, or publications
Censor
A person authorised to examine films, letters, or publications, in order to ban or cut anything considered obscene or objectionable
To ban or cut portions of (a film, letter or publication)
A person authorised to examine films, letters, or publications, in order to ban or cut anything considered obscene or objectionable
To ban or cut portions of (a film, letter or publication)
Morals
Principles of behaviour in accordance with standards of right and wrong
Principles of behaviour in accordance with standards of right and wrong
Ethics
A code of behaviour, especially of a particular group, profession or individual.
The moral fitness of a decision, course of action etc.
The study of the moral value of human conduct.
FLAKE
1969
A code of behaviour, especially of a particular group, profession or individual.
The moral fitness of a decision, course of action etc.
The study of the moral value of human conduct.
FLAKE
1969
‘Suppose that a picture of a
young woman inserting a
chocolate bar into her mouth
makes one person think of
fellatio, but someone else
says that this meaning says
more about the observer
than it does the picture. This
kind of dispute, with its
assumption that meaning
resides in a text quite
independently of individual
and group preconceptions, is
depressingly common in
discussions on advertising as the picture does not
in fact depict fellatio, but
something else, what the
dispute comes down to is
whether everyone, a
substantial number of
people, a few obsessed
individuals, or one particular
person, understand it this
way. Without an opinion
poll, the dispute is
unresolvable, but it is really
quite improbable that such
an interpretation will
be individual’
Cook, G. (1992), The Discourse of Cadbury’s Flake, 1982
Advertising, London, Routledge
1982
ADVERTISING
- sexual aspects
- suggestive
- does it say more about the individual than the advert?
Opium advertisement, photographer Stephen Meisel, 2000
BANNED
Christopher Graham, ASA director general, said: "This was the most complained about
advertisement in the last five years. As a poster it clearly caused serious and
widespread offence." He said it was sexually suggestive and likely to cause "serious or
widespread offence" thereby breaking the British codes of advertising and sales
promotion.
ACCEPTABLE
Amy Adler – The Folly of
Defining ‘Serious’ Art
• Professor of Law at New York University
• ‘an irreconcilable conflict between legal
rules and artistic practice’
• The requirement that protected artworks
have ‘serious artistic value’ is the very
thing contemporary art and
postmodernism itself attempt to defy
The Miller Test, 1973
• Asks three questions to determine whether a given work should be labelled ‘obscene’, and hence denied constitutional protection:
-Whether ‘the average person, applying contemporary community standards’ would find that the work, taken as a whole, appeals to the prurient interest
-Whether the work depicts or describes, in a patently offensive way, sexual conduct
-Whether the work, taken as a whole, lacks serious literary, artistic, political or scientific value
• Asks three questions to determine whether a given work should be labelled ‘obscene’, and hence denied constitutional protection:
-Whether ‘the average person, applying contemporary community standards’ would find that the work, taken as a whole, appeals to the prurient interest
-Whether the work depicts or describes, in a patently offensive way, sexual conduct
-Whether the work, taken as a whole, lacks serious literary, artistic, political or scientific value
Obscenity Law
• ‘To protect art whilst prohibiting trash’
• ‘The dividing line between speech and non-speech’
• ‘The dividing line between prison and freedom’
• ‘To protect art whilst prohibiting trash’
• ‘The dividing line between speech and non-speech’
• ‘The dividing line between prison and freedom’
FINAL THOUGHTS
Just how much should we believe the
‘truth’ represented in the media?
• And should we be protected from it?
• Is the manipulation of the truth fair game in a Capitalist, consumer society?
• Should art sit outside of censorship laws exercised in other disciplines?
• Who should be protected, artist, viewer, or subject?
• And should we be protected from it?
• Is the manipulation of the truth fair game in a Capitalist, consumer society?
• Should art sit outside of censorship laws exercised in other disciplines?
• Who should be protected, artist, viewer, or subject?
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