CMN 703 UNH Reckless & Self Destructive Rhetoric of Pearl Harbor Attack Photographs paper

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 Your analysis can be no better than the materials that you’ve read. You should use our shared readings when you can and when they are relevant. You should have found some great materials on your own, too. If you are writing about images of war or love or technology, then you should know some of the great analysis of such photographs that came before you. If you are writing about images of relationships, then you should know how to adapt some great analysis of images of places to improve your analysis of images of relationships.

If you are going to use our shared, required readings, make sure you use them well. Don’t dump in terms and concepts that you don’t understand. (This is not a “cut and paste,” “connect the dots,” or “paint by numbers” task: It is YOUR Capstone Project.)

You chose the images, connect them, make them talk to us. It must be YOUR analysis!

Our required readings offer the examples of and standards for what you might do as a final project:

  1. Berger analyzed the August Sander photograph of the men in suits; he used his analysis to recontextualize the photograph and, thus, achieve an “alternative photography”
  2. Sontag analyzed Diane Arbus’s oeuvre and offered general, brilliant insight into the nature of photography itself
  3. Barrett offered a simple method of considering the contexts and genres that frame photographs
  4. In “The Rhetoric of the Image,” Barthes teaches about the cultural codes and linguistic messages that “frame” a photograph
  5. Group mu showed us how plastic elements combine to form iconic elements from which the rhetoric of the image arises
  6. Maynard teaches how technology works in the human experience: he treats photography as an extension of our ability to detect and imagine.
  7. Elkins says that every photograph spawns an imagination of the body
  8. Kress and Van Leeuwen begin to lay out a “grammar” of the photograph
  9. In Camera Lucida, moves past the cultural codes of studium to the fact that something that was there but isn’t anymore, the “that-has-been” … He finds the noeme of photography in this phenomenon

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