Since our group’s project was the Visual Analysis option, and the historical event we decided to use was over 150 years ago and during a war, there is little to no photographs from that time. Paintings take time and are used in war to depict it in a way that benefits the organization behind the making of the painting. As such, for the final project there is little ‘found’ footage included and no real way to have ‘original’ footage without flying across the country.
When creating the archive for this class, I ran into some trouble with photobucket a few times. A number of files seemed to have trouble being uploaded, but I eventually managed to get them all up. A few of the images I had taken on the Loyola tour were ‘lost’ as I obtained them, and I’m not sure where they are. Regardless, I had managed to put together a good power point presentation with it, and even converted it into a movie file later. Ran into some problems with the ‘Ken Burns’ effect not turning off when clearly disabled, but I can live with it. I’ve noticed a lot of trouble when trying to create sub-folders to organize the jumbled list of files, since it asks for further specification of authorized individuals. So I just kept it as a list since I barely managed to get the authorization right the first time in class.
As for what I learned during the making of the final project, it is that there are numerous ways in which one can interpret an image. Though not all interpretations of the image will be correct, they are in fact ‘valid realities’ derived from the experiences and senses (usually sight) of the viewer. While the creator of the image knows the ‘truth’ (the intended connotations) behind the image, they must be aware of the existence of the ripple of ‘valid realities’ their image will create. Additionally, the viewer must be aware that their ‘valid reality’ may not be the ‘truth’ behind the image, but merely an ‘illusion’. The viewer must not thrust their ‘reality’ out as the ‘truth’ of the creator.
An example would be like when Star Wars: Attack of the Clones was released. I remember hearing things about the 'fact' that because the clones appeared to be ‘latino’, that Lucas was commenting on the migrant worker issue. We can’t know if this was George Lucas’ intention, but the viewers derived a ‘valid reality’ based on what they saw. This would have been fine if they hadn’t proclaimed that to have been the original intention of George Lucas. They assumed that their interpretation was the ‘truth’. I hope that makes it easier to understand...
Friday, December 18, 2009
Texas History VS Texan History
When I was four, my family moved to the Dallas area of Texas. We moved back to Wisconsin after living there for 10 years, essentially meaning that I was raised there. It was during the readings assigned in this film class that made me question much of what I was taught about Texas History. I had spent from before kindergarten until the end of my freshman year in high school under the Texas school system, and have found myself to have held beliefs about history that aren’t entirely accurate. It was this realization coupled with the purpose of this course that made me decide to write my final essay to explore the differences between ‘Texas History’ and ‘Texan History’.
My family traveled to San Antonio once on vacation, where we visited the actual Alamo site. It has been converted into a tourist attraction, historical site, and gift shop. In the historical site, there were weapons of the time, models of the stages of the battle, and numerous paintings of the battle. While there, I remember paintings of Davy Crockett standing at the gates of the Alamo, with the dark bayonets of the Mexican Army drawing closer from the bottom and sides of the frame. The site is a tribute to the heroism of the defenders. There is no mention of the reports of the last defender, Jacob Walker, hiding behind Susannah Dickinson before being bayoneted.
One major inconsistency is the way in which the relationship between Stephen F. Austin and the Mexican government is portrayed. I was taught that Austin was a bilingual intermediary of sorts, working to bridge the language gap and physical distance between the Texas settlers and the government. We were told how he would travel back and forth between them to negotiate, and how he was against a war for independence. His loss to Sam Houston in the race to be the first president of Texas after the war was taught to be somewhat tragic, and he is depicted as a man who gave everything for Texas and got little back.
History shows us a different picture though. In “A Different Mirror: A History of Multicultural America” by Ronald Takaki, one of the reading sources for this class, the chapter ‘Foreigners In Their Native Land’ quotes some of Austin’s more rebellious and intolerant remarks. These include references to the Mexican people as “mongrel Spanish-Indian and Negro race” and that Americans need to “redeem it from the wilderness --- to settle it with an intelligent honorable and enterprising people.” It further quotes him with “War is our only recourse. There is no other remedy.” This is a far cry from the moderate and cooperative Austin taught to me when I was a child…
One particular memory was during 7th grade Texas History. As we entered the room just before class, an overhead projection was displayed on the board. On it, the teacher explained her disappointment with the recent test score averages and lack of participation of the class. It listed several new rules each student must abide by or risk being kicked out of class. The list included coming in for so many extra hours every week, a series of quizzes that all needed to be passed, ect… Everyone in the class was shocked at the demands, while I myself was covered in a cold sweat and breathing heavily. As the teacher walked in and students began raising their displeasure and objections, she explained that this was what it was like for the Texas settlers when Santa Anna rescinded the 1824 Constitution of Mexico and replaced it with the 1835 Constitution. It was explained that this ‘sudden application of absurd requirements and not being able to change them’ condition was the trigger. It was this ‘up against the wall’ feeling the class felt that pushed the settlers to revolt. This was the given ‘reason’ for the Texas Revolution. In this way, it was tied to ideals of the American Revolution, which is almost unanimously seen as ‘good’ and ‘justified’.When studying the Civil War, it is made abundantly clear that slavery is morally wrong. But the fact that Texas was part of the Confederacy and owned slaves was downplayed, rationalized simply by “because it was in the south”. In the context of the colonization and the Texas Revolution, it was taught that slaves existed there but only as a footnote. It was not taught that the 1835 Constitution of Mexico banned slavery, which was one of primary points of conflict for the settlers.
Oddly enough, the Civil War is primarily taught as being fought over the issue of slavery, in which the victorious side was against. However, there were many other historical reasons for the conflict between the north and south. In the case of Texas, where the victorious side was pro-slavery, the issue of slavery in the conflict is not even mentioned. This is an odd historical trend I’ve come to notice in a history written primarily by white historians. This could possibly be attempts to push the image of the ‘benevolent’ white in cases where it can, while downplaying the attempts to propagate slavery by whites.
In the Battle of San Jacinto, the final battle in the war, Sam Houston attacked the Mexican Army during their siesta. Caught by surprise, the larger Mexican Army fell into disarray and was quickly defeated. General Santa Anna reportedly changed into a regular soldier’s uniform to avoid capture, but was caught when saluted and discovered to be wearing silk underwear. The battle is taught to have been determined by the overconfidence and lack of spirt of the Mexican Army, as opposed to the ferocity and spirt of the cornered Texas Army. The image of the proud absolute ruler of Mexico removing his ornate uniform and pretending to be a regular solider gives the impression that his pride was merely self-serving ego, which dissolves in the face of real danger in the interest of self-preservation. Coupled with the reports of not being on the frontlines during the Alamo, he is taught to be a ‘sheep in wolves clothing’. Even if all of these events are fact, the way in which they are spun has a massive impact on the way it can be interpreted, similar to what a good director can do to a movie script.
Humans take in their world through what they experience through their various senses, the culmination of which we call ‘reality’. ‘Reality’ can vary from person to person, which is why there are arguments and misunderstandings between them. The way in which ‘history’ is primarily written by the victor and how media imagery attempts to influence our thoughts and opinions are both derived from this principle of ‘reality’. The concept of school education is similar in that the young student’s mind, which is assumed to not yet been exposed to the historical data, can have its definition of ‘reality’ influenced by only allowing the mind to ‘experience’ certain aspects of the truth. This boils down to teachers depicting history in such a way that a similar collective image of ‘reality’ is imbued in the students. The desire for a Texan to teach Texas History in such a way as to depict Texans in a good light is clear. People don’t like to accept the bad parts about themselves, and the same extends to groups of people. We convince ourselves that we are correct and justified in our actions in order to protect ourselves. This is the reason I believe that I was taught such a one-sided view of Texas History.
My family traveled to San Antonio once on vacation, where we visited the actual Alamo site. It has been converted into a tourist attraction, historical site, and gift shop. In the historical site, there were weapons of the time, models of the stages of the battle, and numerous paintings of the battle. While there, I remember paintings of Davy Crockett standing at the gates of the Alamo, with the dark bayonets of the Mexican Army drawing closer from the bottom and sides of the frame. The site is a tribute to the heroism of the defenders. There is no mention of the reports of the last defender, Jacob Walker, hiding behind Susannah Dickinson before being bayoneted.
One major inconsistency is the way in which the relationship between Stephen F. Austin and the Mexican government is portrayed. I was taught that Austin was a bilingual intermediary of sorts, working to bridge the language gap and physical distance between the Texas settlers and the government. We were told how he would travel back and forth between them to negotiate, and how he was against a war for independence. His loss to Sam Houston in the race to be the first president of Texas after the war was taught to be somewhat tragic, and he is depicted as a man who gave everything for Texas and got little back.
History shows us a different picture though. In “A Different Mirror: A History of Multicultural America” by Ronald Takaki, one of the reading sources for this class, the chapter ‘Foreigners In Their Native Land’ quotes some of Austin’s more rebellious and intolerant remarks. These include references to the Mexican people as “mongrel Spanish-Indian and Negro race” and that Americans need to “redeem it from the wilderness --- to settle it with an intelligent honorable and enterprising people.” It further quotes him with “War is our only recourse. There is no other remedy.” This is a far cry from the moderate and cooperative Austin taught to me when I was a child…
One particular memory was during 7th grade Texas History. As we entered the room just before class, an overhead projection was displayed on the board. On it, the teacher explained her disappointment with the recent test score averages and lack of participation of the class. It listed several new rules each student must abide by or risk being kicked out of class. The list included coming in for so many extra hours every week, a series of quizzes that all needed to be passed, ect… Everyone in the class was shocked at the demands, while I myself was covered in a cold sweat and breathing heavily. As the teacher walked in and students began raising their displeasure and objections, she explained that this was what it was like for the Texas settlers when Santa Anna rescinded the 1824 Constitution of Mexico and replaced it with the 1835 Constitution. It was explained that this ‘sudden application of absurd requirements and not being able to change them’ condition was the trigger. It was this ‘up against the wall’ feeling the class felt that pushed the settlers to revolt. This was the given ‘reason’ for the Texas Revolution. In this way, it was tied to ideals of the American Revolution, which is almost unanimously seen as ‘good’ and ‘justified’.When studying the Civil War, it is made abundantly clear that slavery is morally wrong. But the fact that Texas was part of the Confederacy and owned slaves was downplayed, rationalized simply by “because it was in the south”. In the context of the colonization and the Texas Revolution, it was taught that slaves existed there but only as a footnote. It was not taught that the 1835 Constitution of Mexico banned slavery, which was one of primary points of conflict for the settlers.
Oddly enough, the Civil War is primarily taught as being fought over the issue of slavery, in which the victorious side was against. However, there were many other historical reasons for the conflict between the north and south. In the case of Texas, where the victorious side was pro-slavery, the issue of slavery in the conflict is not even mentioned. This is an odd historical trend I’ve come to notice in a history written primarily by white historians. This could possibly be attempts to push the image of the ‘benevolent’ white in cases where it can, while downplaying the attempts to propagate slavery by whites.
In the Battle of San Jacinto, the final battle in the war, Sam Houston attacked the Mexican Army during their siesta. Caught by surprise, the larger Mexican Army fell into disarray and was quickly defeated. General Santa Anna reportedly changed into a regular soldier’s uniform to avoid capture, but was caught when saluted and discovered to be wearing silk underwear. The battle is taught to have been determined by the overconfidence and lack of spirt of the Mexican Army, as opposed to the ferocity and spirt of the cornered Texas Army. The image of the proud absolute ruler of Mexico removing his ornate uniform and pretending to be a regular solider gives the impression that his pride was merely self-serving ego, which dissolves in the face of real danger in the interest of self-preservation. Coupled with the reports of not being on the frontlines during the Alamo, he is taught to be a ‘sheep in wolves clothing’. Even if all of these events are fact, the way in which they are spun has a massive impact on the way it can be interpreted, similar to what a good director can do to a movie script.
Humans take in their world through what they experience through their various senses, the culmination of which we call ‘reality’. ‘Reality’ can vary from person to person, which is why there are arguments and misunderstandings between them. The way in which ‘history’ is primarily written by the victor and how media imagery attempts to influence our thoughts and opinions are both derived from this principle of ‘reality’. The concept of school education is similar in that the young student’s mind, which is assumed to not yet been exposed to the historical data, can have its definition of ‘reality’ influenced by only allowing the mind to ‘experience’ certain aspects of the truth. This boils down to teachers depicting history in such a way that a similar collective image of ‘reality’ is imbued in the students. The desire for a Texan to teach Texas History in such a way as to depict Texans in a good light is clear. People don’t like to accept the bad parts about themselves, and the same extends to groups of people. We convince ourselves that we are correct and justified in our actions in order to protect ourselves. This is the reason I believe that I was taught such a one-sided view of Texas History.
Friday, December 11, 2009
Sunday, November 15, 2009
Multimedia Essay: Artist Statement
During the course of the Multimedia Essay assignment, I ran into a series of problems that had a determining factor on its form. First and foremost was caused by miscommunication in the group, causing my other group members to take the tour without me. To make up for it, I had to reschedule to take the tour during a time after school. Because it was done after school, there are no photographs of or taken by the students themselves. Nor was I able to speak with the students and get an idea of the neighborhood. Because of this, I wanted to take pictures to try to show the school’s unique style.
Further hindering this project was that it took two weeks to schedule the tour. My own short-sightedness prevented me from finishing the other steps of the project during this scheduling time. Further scheduling problems prevented me from having a camera and a car for the neighborhood pictures, which is why they aren’t there. These problems have had a large impact on the project itself, so much that I felt it was necessary to explain them. In this way they give the project a story behind it.
As for the project itself, I tried to express an idea. For slides 3 through 7, each picture is a portion of a single poster. I ordered the shots to rise from the bottom, as though the artwork were pulling the consciousness of the viewer up with it. I had hoped to do this as an animation, but I am too unfamiliar with the more recent PowerPoint layouts to do so. I counted the five pictures as a single one of the fifteen, and the fifteen word quote is only counted one time for the 100-250 word limit.
I really liked the posters of woodcuts in the classroom, as I myself have carved one in highschool. From that, I know that woodcuts were the cheap method of mass communication in the past, since a single cut could produce numerous prints. Because of this, they seem to express the will of the people who aren’t as well off in society. Their artistic nature and disciplined nature of construction show resistance to their placement and labeling of being ‘lesser’. I felt that this would complement the nature of a school giving another chance to those deemed ‘at risk’, questioning the finality of this judgement.
I also felt that the colorful and inviting nature of the school was important to show. Regardless of how well a school can broaden the horizons of its students, it means nothing if said students close their mind to it. By using bright colors, a friendly and energetic atmosphere is created. By showing the success of others, through awards and images of their graduates, a sense of ‘you-can-too’ is instilled. Mr. Gonzales told me during the tour that although a number of the students are involved in gangs, that these are ‘left at the door’. I’ve gotten the sense that Loyola is an important place for many of the students.
Further hindering this project was that it took two weeks to schedule the tour. My own short-sightedness prevented me from finishing the other steps of the project during this scheduling time. Further scheduling problems prevented me from having a camera and a car for the neighborhood pictures, which is why they aren’t there. These problems have had a large impact on the project itself, so much that I felt it was necessary to explain them. In this way they give the project a story behind it.
As for the project itself, I tried to express an idea. For slides 3 through 7, each picture is a portion of a single poster. I ordered the shots to rise from the bottom, as though the artwork were pulling the consciousness of the viewer up with it. I had hoped to do this as an animation, but I am too unfamiliar with the more recent PowerPoint layouts to do so. I counted the five pictures as a single one of the fifteen, and the fifteen word quote is only counted one time for the 100-250 word limit.
I really liked the posters of woodcuts in the classroom, as I myself have carved one in highschool. From that, I know that woodcuts were the cheap method of mass communication in the past, since a single cut could produce numerous prints. Because of this, they seem to express the will of the people who aren’t as well off in society. Their artistic nature and disciplined nature of construction show resistance to their placement and labeling of being ‘lesser’. I felt that this would complement the nature of a school giving another chance to those deemed ‘at risk’, questioning the finality of this judgement.
I also felt that the colorful and inviting nature of the school was important to show. Regardless of how well a school can broaden the horizons of its students, it means nothing if said students close their mind to it. By using bright colors, a friendly and energetic atmosphere is created. By showing the success of others, through awards and images of their graduates, a sense of ‘you-can-too’ is instilled. Mr. Gonzales told me during the tour that although a number of the students are involved in gangs, that these are ‘left at the door’. I’ve gotten the sense that Loyola is an important place for many of the students.
Media Literacy Exercise: Essay
The first image is "Refrigerator" by Martin Johnson and Osa Johnson in 1920. In this picture, the woman presents the tray of ice to the two apparently ‘native men on the left. Both the woman and the two men appear to have a slight smiles, and the photo is well lit. The setting appears to be in a storage shed of some kind, with exposed wood shelves with stacks of canned goods on it. The woman appears to have her legs leaning backwards as her torso leans forward, and she is only connected to the two men by the tray of ice. The woman costume covers most of her skin, while the men are almost entirely naked.
These gestures seem to suggest that woman is trying to be friendly, but is still cautious on a deeper level. It is as though she is pulling her waist backwards while interacting with the men, suggesting the non-sexual relationship between them. Their different costume’s suggest the men’s ‘physical and passionate’ nature, a normal stereotype of ‘non-white’ people ("America on Film by Benshoff and Griffin, pg53), a trait that seems to be ‘kept in check’ by the woman’s non-sexual appearance. The smiles and interest in the ice tray suggest the men acceptance of the technology the woman possesses, further suggesting the idea of the ‘benign white benefactor’. Behind them is the monolithic white refrigerator, suggesting the dominance of ‘whiteness’. It is similar to a mother and children, suggesting the simplicity of the men.
Overall, the photo suggests the convinence and plenty provided by the cultural development and intelligence as well as the ‘pure-intention’ of ‘white people’. It places this with unspecified ‘native people’ to show that the spread of white dominance is for the well-being of the ‘lesser’ people.
The second image is "As We Found Them" by Peregrine F. Cooper in 1864. The two photographs are set side by side for comparison, but contain the same figures. In both, a young boy and girl appear posing on a small prop. Both children are black, but the similarity between the two photographs end there. In the ‘left’ picture, they appear in rags. A length of small rope or twine can be seen across the boy chest, suggesting he is carrying something. He stands casually with an arm resting on the rail of the prop and a bent leg. The girl has her arm loosely around the boy’s arm, but doesn’t grip with her hand. She appears to have her weight on her right foot, with the left just barely hanging over the edge of the prop. The lighting is dim compared to the photo on the right, and appears to be slightly more zoomed in as well (apparent if one notices the amount of empty space above their heads). The children appear primarily in focus, and the wall pattern behind them is quite out of focus (but is possibly a landscape).
These gestures seem to suggest that the ‘blackness’ of the children is the primary subject matter of the photograph. The lighting produces darker shadows, and the bright clothing appears in high contrast to their dark skin, making it appear even darker. Their poses suggest an nrefined quality to their character, standing casually next to the prop ‘classical-Greek-style’ post.
In the ‘right’ picture, the two appear in sharp refined clothing, suggesting a change in the overall nrefined characteristic they appear to possess in the picture on the ‘left’. They stand more ‘properly’, with both of the boy’s feet on the ground and the girl on balanced footing and with her hand securely on the boy’s arm. This seems to suggest an overall better ‘stability’ in their lives when compared to the picture on the left. The lighting is more intense, producing greater highlights on the children faces. This seems to ‘whiten’ them in a way, with less of their skin appearing black. They also appear less pronounced from the background with their change in clothing, alluding to the ‘invisibility’ of whiteness referred to in "On the Matter of Whiteness" by Richard Dyer. The frame is pulled back farther slightly giving a wider field of view, suggesting a ‘broadened horizon’ for the children. The background is also in focus now, appearing like a detailed pattern on a door or a piece of fabric on the wall. The change in ‘location’ from outside to inside further suggests the overall refinement of the children.
The two photos appear to suggest the refinement of the children and suggests that they have been rought up to the sophistication of white society. This is further reinforced by the titles "As We Found Them" and "As They Are Now" for the left and right photos respectively.
Comparing the two images, there is a clear idea of the ‘benign’ nature of whiteness. They show other ‘races’ as being less civilized, and the need for ‘white people’ to take care of them and show them the ‘better’ way. The idea that the children are ‘better’ people on the ‘right’ compared to themselves on the ‘left’ suggest that white culture is better. The "Refrigerator" image suggests that these ‘lesser’ cultures are accepting of this change and dominance. These seem to suggest that the dominance of ‘whiteness’ is both nature and needs to be spread, and that doing so is an act of kindness. Whether or not these images and the actions they represent were taken/performed solely for these reasons is unknown, but could simply be a justification for the actions taken.
These gestures seem to suggest that woman is trying to be friendly, but is still cautious on a deeper level. It is as though she is pulling her waist backwards while interacting with the men, suggesting the non-sexual relationship between them. Their different costume’s suggest the men’s ‘physical and passionate’ nature, a normal stereotype of ‘non-white’ people ("America on Film by Benshoff and Griffin, pg53), a trait that seems to be ‘kept in check’ by the woman’s non-sexual appearance. The smiles and interest in the ice tray suggest the men acceptance of the technology the woman possesses, further suggesting the idea of the ‘benign white benefactor’. Behind them is the monolithic white refrigerator, suggesting the dominance of ‘whiteness’. It is similar to a mother and children, suggesting the simplicity of the men.
Overall, the photo suggests the convinence and plenty provided by the cultural development and intelligence as well as the ‘pure-intention’ of ‘white people’. It places this with unspecified ‘native people’ to show that the spread of white dominance is for the well-being of the ‘lesser’ people.
The second image is "As We Found Them" by Peregrine F. Cooper in 1864. The two photographs are set side by side for comparison, but contain the same figures. In both, a young boy and girl appear posing on a small prop. Both children are black, but the similarity between the two photographs end there. In the ‘left’ picture, they appear in rags. A length of small rope or twine can be seen across the boy chest, suggesting he is carrying something. He stands casually with an arm resting on the rail of the prop and a bent leg. The girl has her arm loosely around the boy’s arm, but doesn’t grip with her hand. She appears to have her weight on her right foot, with the left just barely hanging over the edge of the prop. The lighting is dim compared to the photo on the right, and appears to be slightly more zoomed in as well (apparent if one notices the amount of empty space above their heads). The children appear primarily in focus, and the wall pattern behind them is quite out of focus (but is possibly a landscape).
These gestures seem to suggest that the ‘blackness’ of the children is the primary subject matter of the photograph. The lighting produces darker shadows, and the bright clothing appears in high contrast to their dark skin, making it appear even darker. Their poses suggest an nrefined quality to their character, standing casually next to the prop ‘classical-Greek-style’ post.
In the ‘right’ picture, the two appear in sharp refined clothing, suggesting a change in the overall nrefined characteristic they appear to possess in the picture on the ‘left’. They stand more ‘properly’, with both of the boy’s feet on the ground and the girl on balanced footing and with her hand securely on the boy’s arm. This seems to suggest an overall better ‘stability’ in their lives when compared to the picture on the left. The lighting is more intense, producing greater highlights on the children faces. This seems to ‘whiten’ them in a way, with less of their skin appearing black. They also appear less pronounced from the background with their change in clothing, alluding to the ‘invisibility’ of whiteness referred to in "On the Matter of Whiteness" by Richard Dyer. The frame is pulled back farther slightly giving a wider field of view, suggesting a ‘broadened horizon’ for the children. The background is also in focus now, appearing like a detailed pattern on a door or a piece of fabric on the wall. The change in ‘location’ from outside to inside further suggests the overall refinement of the children.
The two photos appear to suggest the refinement of the children and suggests that they have been rought up to the sophistication of white society. This is further reinforced by the titles "As We Found Them" and "As They Are Now" for the left and right photos respectively.
Comparing the two images, there is a clear idea of the ‘benign’ nature of whiteness. They show other ‘races’ as being less civilized, and the need for ‘white people’ to take care of them and show them the ‘better’ way. The idea that the children are ‘better’ people on the ‘right’ compared to themselves on the ‘left’ suggest that white culture is better. The "Refrigerator" image suggests that these ‘lesser’ cultures are accepting of this change and dominance. These seem to suggest that the dominance of ‘whiteness’ is both nature and needs to be spread, and that doing so is an act of kindness. Whether or not these images and the actions they represent were taken/performed solely for these reasons is unknown, but could simply be a justification for the actions taken.
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