Friday, February 27, 2009
Media Literacy
Frank Barrie
990649890
Film 150
There’s no place like White America
What is irony? When an image projects a symbol, phrase, or slogan meant to convey a message opposite its literal context it is said to be ironic. When you look at the two photographs, At the time of the Louisville Flood and Billboard, the irony is unavoidable. No matter how hard an ideology is pushed through whatever medium, either through the papers, on television, or on a billboard, truth speaks for itself. The preferences of audiences may differ completely but the truth within an image is undeniable. When I look at the billboards I am instantly reminded of an old phrase, “If I fake it, then I don’t have it.” The phrase is obviously out of context but matches the intended meaning behind these public encouragements. As the saying goes the images are projecting false realities as if they alone could hide the true stories behind the not so cheerful or optimistic faces of many African Americans during the early and mid 19th century.
Sturken and Cartwright argue “Societies function by naturalizing ideologies, making complex production of meaning take place so smoothly that it is experienced as a “natural” system of value or belief.” (1)
The two images, although slightly different in framing and technique, practically mirror each other. Both appear to have the same agenda. That is to persuade American communities that American ideals are above all others. The signs in the photos promote and ascribe equality among the diverse population within the United States. With energetic phrases like “There’s no way like the American way” and “I am so an American” the billboards strive to capture individuals and convince them. There is unmistakable irony in the setting of both photos. Both billboards stand tall in what appear to be low-income African American communities. Both slogans are filled with excitement and enthusiasm while the people in the photos stand tired, unhappy, and almost hopeless. Another contradiction within the pictures is that all caricatures presented on the billboards are white while all actual people in the photographs are black. It seems as though the billboards are almost an attempt to convince the black community that they don’t have it so bad, or moreover, to stop making such a fuss about being worse off.
The framing of each photo is unique. In At the time of the Louisville flood the framing is simple and easy to interpret. There is a long line of well-dressed African Americans that all appear to be waiting for something. A few of the individuals are carrying bags and baskets indicating that perhaps they were waiting for food or other necessities. As a backdrop there is a giant billboard. The photograph contains nothing else but the framing does seem purposeful. At first glance your immediately drawn to the picture in the background and the text laid over it. After reading the text and moving on from the billboard you find the long line of disgruntled citizens. The order of magnitude is evident; read the billboard then read the faces. There’s no doubt that the cheerful expressions of the white family are intentionally compared with the exhausted and depressing expressions within the long line. The caricatures on the billboard are white but the real people in the picture are black.
Similarly, the second photograph contains a massive attention grabbing billboard but this time with different technique and angling. As with the first photo, the large sign first draws the viewer’s attention. After reading the supporting text the viewer is then given the opportunity to look around, scope the scene, and get better acquainted with the community than in the previously described picture. Again there are well-dressed African Americans. One dreary elderly man waiting and what appear to be a mother and her two children turning the corner around a closed down convenience store. The children seem take part in an intentional comparison with the white boy on the billboard. This is very similar to the previously discussed photo. The two images may differ in presentation and delivery but the comparison of race leaves viewers with a very similar ironic resonance.
Roanld Takaki seems to be drawing on a similar comparison when he explains, “…the Civil Rights Movement was unable to overcome the structural economic foundations of racial inequality from African Americans. While the laws and court orders prohibited discrimination, they failed to relieve poverty among blacks.” (2)
At the Time of the Louisville Flood was taken in 1937 in the Great Depression Era. The text in the image is attempting to build hope and ignores injustices by projecting a false ideology. The irony here goes deeper than the issue of race. The billboard comes off as a desperate advertisement of life in the states, meant to combat the current economic condition and public morale. Billboard was taken in 1948 in the height of the civil rights movement. Despite better economic times and a heightened unity within the nation after WWII, racial classifications and inequalities still existed. The text on this billboard is again meant to boost societal confidence but targets a different issue, equal rights.
While the intent of the photographs may not have been to specifically point out the economic differences between races, they did. The pictures serve as literal proof of the inequality that existed during this time period. They also exemplify the manner in which Americans dealt with the inequalities between, and segregation from, the African American communities.
Work Cited
(1) Marita Sturken, Lisa Cartwright. Practices of Looking: An Introduction to Visual Culture. (New York: Oxford University Press, Inc., 2009) Page 69.
(2) Ronald Takaki. A Different Mirror: A History of Multicultural America. Revised Edition. (New York: Hachette Book Group, Inc, 1993) Page 396.
990649890
Film 150
There’s no place like White America
What is irony? When an image projects a symbol, phrase, or slogan meant to convey a message opposite its literal context it is said to be ironic. When you look at the two photographs, At the time of the Louisville Flood and Billboard, the irony is unavoidable. No matter how hard an ideology is pushed through whatever medium, either through the papers, on television, or on a billboard, truth speaks for itself. The preferences of audiences may differ completely but the truth within an image is undeniable. When I look at the billboards I am instantly reminded of an old phrase, “If I fake it, then I don’t have it.” The phrase is obviously out of context but matches the intended meaning behind these public encouragements. As the saying goes the images are projecting false realities as if they alone could hide the true stories behind the not so cheerful or optimistic faces of many African Americans during the early and mid 19th century.
Sturken and Cartwright argue “Societies function by naturalizing ideologies, making complex production of meaning take place so smoothly that it is experienced as a “natural” system of value or belief.” (1)
The two images, although slightly different in framing and technique, practically mirror each other. Both appear to have the same agenda. That is to persuade American communities that American ideals are above all others. The signs in the photos promote and ascribe equality among the diverse population within the United States. With energetic phrases like “There’s no way like the American way” and “I am so an American” the billboards strive to capture individuals and convince them. There is unmistakable irony in the setting of both photos. Both billboards stand tall in what appear to be low-income African American communities. Both slogans are filled with excitement and enthusiasm while the people in the photos stand tired, unhappy, and almost hopeless. Another contradiction within the pictures is that all caricatures presented on the billboards are white while all actual people in the photographs are black. It seems as though the billboards are almost an attempt to convince the black community that they don’t have it so bad, or moreover, to stop making such a fuss about being worse off.
The framing of each photo is unique. In At the time of the Louisville flood the framing is simple and easy to interpret. There is a long line of well-dressed African Americans that all appear to be waiting for something. A few of the individuals are carrying bags and baskets indicating that perhaps they were waiting for food or other necessities. As a backdrop there is a giant billboard. The photograph contains nothing else but the framing does seem purposeful. At first glance your immediately drawn to the picture in the background and the text laid over it. After reading the text and moving on from the billboard you find the long line of disgruntled citizens. The order of magnitude is evident; read the billboard then read the faces. There’s no doubt that the cheerful expressions of the white family are intentionally compared with the exhausted and depressing expressions within the long line. The caricatures on the billboard are white but the real people in the picture are black.
Similarly, the second photograph contains a massive attention grabbing billboard but this time with different technique and angling. As with the first photo, the large sign first draws the viewer’s attention. After reading the supporting text the viewer is then given the opportunity to look around, scope the scene, and get better acquainted with the community than in the previously described picture. Again there are well-dressed African Americans. One dreary elderly man waiting and what appear to be a mother and her two children turning the corner around a closed down convenience store. The children seem take part in an intentional comparison with the white boy on the billboard. This is very similar to the previously discussed photo. The two images may differ in presentation and delivery but the comparison of race leaves viewers with a very similar ironic resonance.
Roanld Takaki seems to be drawing on a similar comparison when he explains, “…the Civil Rights Movement was unable to overcome the structural economic foundations of racial inequality from African Americans. While the laws and court orders prohibited discrimination, they failed to relieve poverty among blacks.” (2)
At the Time of the Louisville Flood was taken in 1937 in the Great Depression Era. The text in the image is attempting to build hope and ignores injustices by projecting a false ideology. The irony here goes deeper than the issue of race. The billboard comes off as a desperate advertisement of life in the states, meant to combat the current economic condition and public morale. Billboard was taken in 1948 in the height of the civil rights movement. Despite better economic times and a heightened unity within the nation after WWII, racial classifications and inequalities still existed. The text on this billboard is again meant to boost societal confidence but targets a different issue, equal rights.
While the intent of the photographs may not have been to specifically point out the economic differences between races, they did. The pictures serve as literal proof of the inequality that existed during this time period. They also exemplify the manner in which Americans dealt with the inequalities between, and segregation from, the African American communities.
Work Cited
(1) Marita Sturken, Lisa Cartwright. Practices of Looking: An Introduction to Visual Culture. (New York: Oxford University Press, Inc., 2009) Page 69.
(2) Ronald Takaki. A Different Mirror: A History of Multicultural America. Revised Edition. (New York: Hachette Book Group, Inc, 1993) Page 396.
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