define visual media essay

Defining Visual Media

Visual media refers to any communication, or job , that conveys meaning through visual elements. Some common examples of visual media include: - Images - Video - Information graphics - Typography Visual media is all around us. From advertisements to traffic signs to emoji's. Let's explore some of the main categories of visual media and how they communicate meaning:

Images are a ubiquitous form of visual media found in art, publications, advertising, and digital spaces. At their core, images communicate by visually representing real world objects, people, events or scenes. But the elements that make up an image add additional layers of meaning.

The composition of an image directs the viewer's attention and implies relationships between elements. Lighting, shading, and color choices set mood and tone. Stylistic choices like blurring or saturation exaggerate certain qualities. And symbolic elements like objects or poses represent abstract concepts and ideals. A close reading of an image should consider all these factors to understand the full intended meaning.

Images also vary greatly in their production, from professional photography to casual snapshots to paintings and illustrations. The medium and techniques used to create an image impact the message it conveys. Images leverage our visual recognition abilities to quickly convey representations, emotions, symbols, and implicit meanings.

Video utilizes moving visual media paired with audio conveyed over time to communicate in vivid and engaging ways. The addition of motion, sound, and duration allows video to tell compelling stories, share information, and represent events in lifelike and dynamic ways.

Video creators use a range of techniques to manipulate the video medium for intentional effects. Editing allows creators to strategically sequence events, interweave perspectives, accentuate details, and control pacing. Camera angles and movement add emphasis and interesting perspectives. Lighting, music, and sound effects heighten mood and drama. Video leverages the strengths of visual and auditory communication to immerse viewers in dynamic worlds and share narratives in memorable ways.

From blockbuster films to viral cat videos, video dominates online platforms and multimedia landscapes. Understanding how video creators utilize this flexible medium provides valuable insight into modern communication.

Information Graphics

Information graphics, also known as infographics, transform complex data and concepts into accessible visual representations. Charts, graphs, maps, diagrams, and other infographics encode information into shapes, icons, positioning, and color. This allows large amounts of information to be compressed and relationships to be conveyed that are not obvious in raw data.

Effective information graphics optimize relevant visual elements to highlight patterns, communicate hierarchy, show change over time , and reveal insights. Simple and minimalist infographic designs allow key information to stand out. Careful incorporation of text supplements graphics without overwhelming them. When thoughtfully created, infographics can quickly communicate in-depth information to broad audiences.

In an increasingly data-driven world, information graphics play a key role in visualizing research, ideas, and trends for public consumption. They are ubiquitous in media, education, journalism, business, and more.

Typography is the art of arranging text on visual media like webpages, posters, or books. Font choice, text layout, color, size, and styling of text all contribute to typographic design. While often overlooked, typography has a significant impact on the tone, readability, and aesthetic of media.

Serif or sans-serif fonts imply traditional or modern sensibilities. Monospaced and decorative fonts add visual interest. Leading, kerning, and line length affect readability. Bold, italic, or capitalized text adds emphasis. Centered, right-aligned, or nested text implies hierarchy and structure. Well-executed typography elevates and enhances the content.

In the digital age, typography subtly influences our consumption of written media in our browsers, apps, and devices. An awareness of typography as a versatile visual medium helps create polished, coherent designs that effectively communicate.

The Takeaway

Visual media utilizes visual elements to convey meaning and engage audiences. It encompasses a wide range of formats including:

Images like photographs, paintings, and illustrations that represent people, places, and objects through deliberate composition, color, and style choices.
Video that uses moving images, audio, sequencing, and cinematic techniques to tell vivid stories and share dynamic content.
Information graphics like charts, maps, and diagrams that transform complex data into clear visual representations.
Typography that carefully arranges fonts, text styling, and layouts to optimize readability and convey tone.

Though they take many forms, visual media leverages visual processing strengths in humans. And is a field that can lead to strong earning potential from $100k to even millions . Elements like color, shape, and composition encode meaning and emotion. Understanding how to interpret and apply visual media is a key skill for modern communication and content creation.

Shape in Graphic Design

Alignment in graphic design, contrast in graphic design, proximity in graphic design, unity in graphic design, make your work suck less.

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What is a Video Essay - Best Video Essays Film of 2020 - Top Movie Video Essay

What is a Video Essay? The Art of the Video Analysis Essay

I n the era of the internet and Youtube, the video essay has become an increasingly popular means of expressing ideas and concepts. However, there is a bit of an enigma behind the construction of the video essay largely due to the vagueness of the term.

What defines a video analysis essay? What is a video essay supposed to be about? In this article, we’ll take a look at the foundation of these videos and the various ways writers and editors use them creatively. Let’s dive in.

Watch: Our Best Film Video Essays of the Year

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What is a video essay?

First, let’s define video essay.

There is narrative film, documentary film, short films, and then there is the video essay. What is its role within the realm of visual media? Let’s begin with the video essay definition.

VIDEO ESSAY DEFINITION

A video essay is a video that analyzes a specific topic, theme, person or thesis. Because video essays are a rather new form, they can be difficult to define, but recognizable nonetheless. To put it simply, they are essays in video form that aim to persuade, educate, or critique.

These essays have become increasingly popular within the era of Youtube and with many creatives writing video essays on topics such as politics, music, film, and pop culture.

What is a video essay used for?

To persuade an audience of a thesis
To educate on a specific subject
To analyze and/or critique

What is a video essay based on?

Establish a thesis.

Video analysis essays lack distinguished boundaries since there are countless topics a video essayist can tackle. Most essays, however, begin with a thesis.

How Christopher Nolan Elevates the Movie Montage • Video Analysis Essays

Good essays often have a point to make. This point, or thesis, should be at the heart of every video analysis essay and is what binds the video together.

Stanley Kubrick Directing Style Explained →
A Filmmaker’s Guide to Nolan’s Directing Style →
How to Write a Voice Over Montage in a Script →

interviews in video essay

Utilize interviews.

A key determinant for the structure of an essay is the source of the ideas. A common source for this are interviews from experts in the field. These interviews can be cut and rearranged to support a thesis.

Roger Deakins on "Learning to Light" • Video Analysis Essays

Utilizing first hand interviews is a great way to utilize ethos into the rhetoric of a video. However, it can be limiting since you are given a limited amount to work with. Voice over scripts, however, can give you the room to say anything.

How to create the best video essays on Youtube

Write voice over scripts.

Voice over (VO) scripts allow video essayists to write out exactly what they want to say. This is one of the most common ways to structure a video analysis essay since it gives more freedom to the writer. It is also a great technique to use when taking on large topics.

In this video, it would have been difficult to explain every type of camera lens by cutting sound bites from interviews of filmmakers. A voice over script, on the other hand, allowed us to communicate information directly when and where we wanted to.

Ultimate Guide to Camera Lenses • Video essay examples

Some of the most famous video essayists like Every Frame a Painting and Nerdwriter1 utilize voice over to capitalize on their strength in writing video analysis essays. However, if you’re more of an editor than a writer, the next type of essay will be more up your alley.

Video analysis essay without a script

Edit a supercut.

Rather than leaning on interview sound bites or voice over, the supercut video depends more on editing. You might be thinking “What is a video essay without writing?” The beauty of the video essay is that the writing can be done throughout the editing. Supercuts create arguments or themes visually through specific sequences.

Another one of the great video essay channels, Screen Junkies, put together a supercut of the last decade in cinema. The video could be called a portrait of the last decade in cinema.

2010 - 2019: A Decade In Film • Best videos on Youtube

This video is rather general as it visually establishes the theme of art during a general time period. Other essays can be much more specific.

Critical essays

Video essays are a uniquely effective means of creating an argument. This is especially true in critical essays. This type of video critiques the facets of a specific topic.

In this video, by one of the best video essay channels, Every Frame a Painting, the topic of the film score is analyzed and critiqued — specifically temp film score.

Every Frame a Painting Marvel Symphonic Universe • Essay examples

Of course, not all essays critique the work of artists. Persuasion of an opinion is only one way to use the video form. Another popular use is to educate.

The Different Types of Camera Lenses →
Write and Create Professionally Formatted Screenplays →
How to Create Unforgettable Film Moments with Music →

Video analysis essay

Visual analysis.

One of the biggest advantages that video analysis essays have over traditional, written essays is the use of visuals. The use of visuals has allowed video essayists to display the subject or work that they are analyzing. It has also allowed them to be more specific with what they are analyzing. Writing video essays entails structuring both words and visuals.

Take this video on There Will Be Blood for example. In a traditional, written essay, the writer would have had to first explain what occurs in the film then make their analysis and repeat.

This can be extremely inefficient and redundant. By analyzing the scene through a video, the points and lessons are much more clear and efficient.

There Will Be Blood • Subscribe on YouTube

Through these video analysis essays, the scene of a film becomes support for a claim rather than the topic of the essay.

Dissect an artist

Essays that focus on analysis do not always focus on a work of art. Oftentimes, they focus on the artist themself. In this type of essay, a thesis is typically made about an artist’s style or approach. The work of that artist is then used to support this thesis.

Nerdwriter1, one of the best video essays on Youtube, creates this type to analyze filmmakers, actors, photographers or in this case, iconic painters.

Caravaggio: Master Of Light • Best video essays on YouTube

In the world of film, the artist video analysis essay tends to cover auteur filmmakers. Auteur filmmakers tend to have distinct styles and repetitive techniques that many filmmakers learn from and use in their own work.

Stanley Kubrick is perhaps the most notable example. In this video, we analyze Kubrick’s best films and the techniques he uses that make so many of us drawn to his films.

Why We're Obsessed with Stanley Kubrick Movies • Video essay examples

Critical essays and analytical essays choose to focus on a piece of work or an artist. Essays that aim to educate, however, draw on various sources to teach technique and the purpose behind those techniques.

What is a video essay written about?

Historical analysis.

Another popular type of essay is historical analysis. Video analysis essays are a great medium to analyze the history of a specific topic. They are an opportunity for essayists to share their research as well as their opinion on history.

Our video on aspect ratio , for example, analyzes how aspect ratios began in cinema and how they continue to evolve. We also make and support the claim that the 2:1 aspect ratio is becoming increasingly popular among filmmakers.

Why More Directors are Switching to 18:9 • Video analysis essay

Analyzing the work of great artists inherently yields a lesson to be learned. Some essays teach more directly.

Types of Camera Movements in Film Explained →
What is Aspect Ratio? A Formula for Framing Success →
Visualize your scenes with intuitive online shotlist software →

Writing video essays about technique

Teach technique.

Educational essays designed to teach are typically more direct. They tend to be more valuable for those looking to create art rather than solely analyze it.

In this video, we explain every type of camera movement and the storytelling value of each. Educational essays must be based on research, evidence, and facts rather than opinion.

Ultimate Guide to Camera Movement • Best video essays on YouTube

As you can see, there are many reasons why the video essay has become an increasingly popular means of communicating information. Its ability to use both sound and picture makes it efficient and effective. It also draws on the language of filmmaking to express ideas through editing. But it also gives writers the creative freedom they love.

Writing video essays is a new art form that many channels have set high standards for. What is a video essay supposed to be about? That’s up to you.

Organize Post Production Workflow

The quality of an essay largely depends on the quality of the edit. If editing is not your strong suit, check out our next article. We dive into tips and techniques that will help you organize your Post-Production workflow to edit like a pro.

Up Next: Post Production →

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Media Critique

What can a media critique look like, analyzing: film.

What Works Well

Sicario: the mirage of a moral world.

[00:00:08] A very brief background on Denis Villeneuve’s directorial style and themes about to be covered
[00:00:38] Strong thesis statement that breaks down the mission of the video
[00:02:22] Thoughtful observations on the use of color, with many visual examples to demonstrate
[00:04:36] Many quick cuts of different scenes to prove a point, efficiently
[00:04:53] Using audio from the source, sparingly, to supplement voice over for added emphasis
[00:07:10] A strong conclusion, using the final moments of the film to tie everything together

What The Truman Show Teaches Us About Politics

[00:00:00] Opening with an important and relevant quote from the story, introduces some basics and sets up the following topic
[00:00:36] Using sound effects to draw attention; Integrating a quote from Homer to relate back to themes of the film; great use of text on screen
[00:01:02] Describing commonly held conceptions, and why the film subverts those standards
[00:01:46] Relating to the viewer, and universalizing concepts of the story
[00:02:33] Excellent use of a graphic and contemporary humor
[00:02:47] A nice, seamless blend of voice over audio and film audio. This breaks up the narrators thoughts
[00:03:07] Drawing from multiple sources and modern day events
[00:04:07] Using the film’s soundtrack to align with the climax of the writer’s points
[00:05:34] A callback to an earlier point made at the start of the video
Overall, just a very well narrated, reasoned, well-paced, and methodic media critique. Words are carefully chosen, and points are clear and well explained.

Melancholia: Life Out of Proportion

[00:00:49] Direct audio from interview with the director, Lars Von Trier
[00:01:25] Supporting dialogue to augment the narration, but only when needed
[00:02:06] Breaking the flow to set up a new argument with visual effect
[00:03:01] Clear summation of supporting evidence for point being made
[00:03:29] Break from narration to clear sound effect from film for emphasis
[00:03:33] Excellent inclusion of images of artworks to support the visual references
[00:04:58] Clear segue into concluding the argument

Analyzing: Television

The Handmaid’s Tale: A World in Shallow Focus

[00:00:13] Excellent use of simple paper set up to demonstrate concept
[00:01:08] Graphics are clean and make a point without text
[00:01:26] Strong use of text to delineate three points being made
[00:02:40] Scene choices speak back to the narration very clearly here
[00:03:09] Referencing Kubrik’s work and then going into a quick montage
[00:03:17] Transition into next point in argument is narratively, visually strong
[00:04:12] Compare/constrast with Gilead vs modern world made well

Analyzing: Novel

House of Leaves: The Horror of Fiction

[00:00:05] Right from the start, we are presented with images of famous horror scenes from film
[00:00:21] Use of historical art to depict the house begins early, establishing this visualization
[00:00:32] Animation helps describe the contents of the novel visually for those that are less familiar
[00:01:05] Printed text of the page in a collage-style is visually interesting and encourages a closer read
[00:01:54] Record scratch and zoom in on footnotes nicely reinforces the conflicting nature of the text
[00:03:15] Direct quote style used nicely to support a key compare/contrast within the argument

Analyzing: Animation

Is BMO from Adventure Time Expressive of Feminism?

[00:00:07] Backdrop is infinitely doable as green screen
[00:00:17] Unrelated but entertaining clips support narration
[00:00:42] Picture-in-picture examples perfectly support narration
[00:01:02] Break for clarity helps prepare intended audience for argument
[00:01:27] Historical images connect to specific facts, timeline
[00:02:12] Introducing text, authors is an effective visual “citation”
[00:03:44] Connection to similar scenario outside the program

Analyzing: Painting

The Most Disturbing Painting

[00:00:00] Appropriately haunting music, and disturbing (yet appropriate) sound effects
[00:01:04] Ken Burns effect used for a slow reveal
[00:02:15] Ken Burns effect also used to zoom around the painting, and bring attention to the specific points the writer makes
[00:02:54] Background and historical context
[00:03:24] Quick cuts and increased speed to cover a lot of ground in seconds
[00:04:40] A clever use of audio muffling and sound effects to simulate the experience of going deaf
[00:06:43] Unique video effect to emphasize distortion
[00:07:15] No hesitation with leaving the same image on screen for an extended period of time. Gives the viewer a chance to really contemplate and absorb the painting

Analyzing: Music

The Cultural Enormity of The Beatles and Radiohead

[00:00:00] Numerous examples of albums that have been influential, or reflective of their times
[00:00:12] A smooth transition and animation to lead into main topic
[00:00:25] A well-stated thesis and explanation of why these bands are worth discussing; Using screen recording
[00:00:46] Archival footage for cultural context
[00:01:41] Archival audio during the height of The Beatles’ rise, giving a background on the band
[00:02:16] Citing notable cultural and political events of the 60s
[00:03:10] Nice contrasting of the two bands
[00:03:47] Good use of text, showing lyrics that exemplify the writer’s point
[00:05:24] Moving into similarities that both bands share
[00:05:58] Not just focusing on the music, but examining the far-reaching impact that each group has had in society and the music industry
[00:07:11] Reserving any actual music from either band until the very end. Ending with perhaps the most iconic Radiohead song

Analyzing: Game

Night In The Woods: Do You Always Have A Choice?

[00:00:00] Starting with a quote from an unrelated story, and unrelated medium, to establish a frame of mind
[00:00:04] Great use of on-screen text, matching with the voiceover
[00:00:47] Offering background information on the game’s creator
[00:01:23] The inclusion of many examples from different media to prove the current point
[00:02:33] Incorporating a direct quote on-screen, but reading the quote aloud to emphasize its importance
[00:03:59] Analysis of gameplay mechanics that are reflective of the themes of the game
[00:04:27] Addressing potential questions that could be posed about this game format, preemptively
[00:06:10] Using a quote from a developer to summarize the thesis
[00:06:25] A well-crafted conclusion, and excellent use of music for the credits

Analyzing: Body of Work

David Lynch: The Treachery of Language

This video is incredibly well put together, citing multiple sources, integrating text and graphics, and showcasing so many different works and media from David Lynch. The author is very articulate, clever and creative.

[00:00:00] Archival footage
[00:00:31] Fantastic use of on-screen text that aligns with the style of the art being discussed.
[00:00:55] Pulling in other sources and critiques for particular examples
[00:01:18] Quick cuts to show many examples, but also create momentum through editing
[00:01:33] Fantastic use of graphics
[00:02:57] A good blend of audio
[00:04:43] The Ken Burns effect to reveal more information
[00:06:21] A great transition from one section of the essay to the next. Specifically, moving from artwork into motion picture work
[00:08:27] Cross dissolve from one image into the next
[00:10:43] Appropriate credits for footage and outside sources

David Fincher: And the Other Way is Wrong

[00:00:07] A nice showcase of various clips from the director’s oeuvre; titles to let you know the director he will be discussing
[00:00:59] Explains why Fincher, and this topic, is unique
[00:01:30] Direct audio from Fincher himself, explaining his filmmaking mindset
[00:01:36] References the previous commentary and responds with visuals
[00:02:23] Uses other films to compare and contrast style, along with another direct quote about camerawork
[00:04:11] A wonderful, in-depth analysis of a Fincher dialogue scene, which proves all the points the writer has been making thus far
[00:05:13] Another analysis of a later scene with the same three characters, which gives the writer a pattern with which to prove his point
[00:06:17] Behind-the-scenes footage
[00:06:48] Touches on both sides of liking or disliking Fincher, but that the artistry can’t be denied
[00:07:03] Ending with humor

What do I need to make a Media Critique?

A show, movie, book or other content that you would like to analyze.
An argument about what sets it apart, evidences its quality, shows a particular viewpoint, etc.
A script that will be the basis for your voiceover narration.
Supporting text, graphics, videos clips, photos and background music, as needed.
A storyboard to organize the content you have gathered – and lead you to other materials to fill gaps.
Editing software such as iMovie or Adobe Premiere to assemble the pieces.
A publishing platform for getting your video online: YouTube, Box, Spark and more are options.

What kinds of Media Critiques have other students made?

What resources are available to help with my Media Critique?

Acquiring source material, some helpful resources, downloading content from streaming services, recording screen content.

Note: Some streaming services will block screen recording.

Ripping Content from Disc

Once you have your disc(s) in hand, you can use a program like Handbrake on the Media Commons editing stations to rip the portions you need to a .mp4 file.

Finding Paintings, Historical Images & More

Adding supporting content, free media library, citing all of your materials, university libraries citation guides, citation engines.

Note: These engines can only produce citations as good as the information you feed into them. Always double-check before submitting.

Ready to Get Started?

Are you a student who’s been assigned a media critique and you need some extra help? Contact us at our Hotline or make an appointment to work with a consultant (University Park only).

17.1 “Reading” Images

Learning outcomes.

By the end of this section, you will be able to:

Define the key concepts and elements of visual rhetoric.
Interpret visual information using the language of visual rhetoric.
Interpret images differently based on cultural considerations.
Choose digital and visual media according to the rhetorical situation and cultural context when writing for different audiences.
Make informed decisions about intellectual property issues regarding images.

To compose an effective essay or a strong visual, a creator works with a number of elements that are remarkably similar from one medium to the other. Both stories and pictures contain information presented by a creator who has a particular point of view and arranges the work in two-dimensional space. The information is likely to be open to multiple interpret , which may or may not be justified by the text. Although the sharing of personal opinions and beliefs has value, the focus here is on interpreting or analyzing texts in combination with your personal experiences.

Interpreting Visual Information

Both words and pictures convey information, but each does so in different ways that require interpretation. Interpretation is the sense a person makes of a piece of communication—textual, oral, or visual. It includes personal experience, the context in which the communication is made, and other rhetorical elements. (See Glance at Genre: Relationship Between Image and Rhetoric for a list of key terms related to visual elements and rhetoric.) By the time readers get to college, they have internalized strategies to help them critically understand a variety of written texts.

Images present a different set of challenges for critical readers. For example, in a photograph or drawing, information is presented simultaneously, so viewers can start or stop anywhere they like. Because visual information is presented in this way, its general meaning may be apparent at a glance, while more nuanced or complicated meanings may take longer to figure out and likely will vary from one viewer to another.

Some images, however, do not really lend themselves to interpretation. Before trying to engage in rhetorical discourse about an image, be sure it contributes something of value. For example, Figure 17.2 shows a punk rock concert featuring the band Naked Raygun with several concertgoers in the foreground. Such pictures are common forms of memorabilia that serve an archival function. The features common to visual rhetoric—point of view, arrangement, color, and symbol—do not inspire much in the way of discussion in this particular image. Parts are blurry, some of the figures are obscure, and the picture’s purpose is unclear. Therefore, any analysis of the image may be guided more by personal opinion than by critical thinking. Such images are not the focus of this chapter.

Figure 17.3 , in contrast, depicts not merely a moment in time for the sake of memory, although it certainly does that. It contains a central, dominant figure. The color red is bold and centers the figure, giving the image weight. It also conveys several political messages, both obvious and nuanced. The woman in the picture is wearing a mask, as people were either asked or mandated to do during the COVID-19 pandemic. The slogan on her mask reads “I can’t breathe,” words that were made infamous after Eric Garner (1970–2014) died as the result of an illegal chokehold inflicted by a New York City police officer during arrest. These words were repeated by George Floyd (1973–2020) in an 8-minute, 46-second video showing his murder by a Minnesota police officer who knelt on Floyd’s neck. The phrase became one of several slogans of the Black Lives Matter (BLM) movement, symbolizing the struggle that people of color endure when living in an implicitly and explicitly racist culture. Breathing—like blood—is fundamental, essential. Without breath, there is no life. Thus, this slogan draws attention to the fact that people of color may be brutalized for no reason other than their existence.

Placing the slogan on a mask is a design choice likely to provoke those who have argued against mandated mask wearing as an assault on personal liberty and who have proclaimed they could not breathe while wearing masks. Juxtaposition , or placing contrasting elements close together, is a technique that image creators often use for a variety of purposes: humor, irony, sarcasm, or—as in this case—disgust or outrage. The juxtaposition of the mask with a slogan referencing literal asphyxiation emphasizes the wearer’s view that state violence against people of color is a more serious threat to her existence than a mask. Thus, the image is open to multiple interpretations.

Thinking Critically

To think critically about visual information, first identify the objects, facts, processes, or symbols portrayed in the image. Taking all the information together, ask whether there is a main or unifying idea. Is the meaning open to multiple interpretations? Is it suggested but not stated? Is it clear and unambiguous? Are there multiple levels of meaning, both stated and unstated? When you view an image, pausing to answer such questions will sharpen your critical faculties, increase your understanding of the visual information you encounter, and help you use images more meaningfully in texts you create.

Visual Rhetoric

Written texts rely on strategies such as thesis statements, topic sentences, paragraphing, tone, and sentence structure to communicate their message to their audience. Images rely on different strategies, including point of view , arrangement , color , and symbol . When writing about images or including them in your writing, think critically about the visual strategies they use and the effect they will have on your audience.

Using these techniques may or may not make you a proficient artist or creator of images. However, familiarity with the technical language of the visual arts will certainly enable you to describe what you observe as you build the evidence that allows you to interpret an image, reflect on it, analyze it, and make persuasive arguments about it.

Point of View

In written texts, point of view refers to the “person” from whose vantage point the information is delivered, either a character in the story or a narrator outside the story. However, in photographs, drawings, and paintings, point of view refers to the place from which the image creator looks at the subject—where the photographer places their camera or the artist their easel.

Photographs that haven’t been manipulated in a darkroom or digitally by a computer only reproduce the subject in front of the camera, as it exists in the moment the shutter opens and closes. They do not show anything to the left or right, above or below, or what comes before or after. A camera aimed to the east omits information from the north, west, and south. In other words, any photograph is the result of placing a camera in a certain location, at a certain height and distance, at a specific time of day and using a particular lens, film, and perhaps a filter. All of these decisions about where, when, and how to place the camera create the visual point of view.

You can find good examples of these kinds of limited truths in real-estate advertisements featuring photographs of houses for sale. The photograph might not reveal a landfill next door or a factory across the street—though you might infer such limitations from a low selling price or confirm them by driving past the house.

The creator of Figure 17.4 chooses to highlight the digital waterfall with its seductive lighting and colors. Meanwhile, the people interacting with the computer are barely visible, standing off to the side, some nearly out of the frame. The silhouetted profiles and darkened faces lack identifying details. These features are emphasized by the blurred people in the background. These figures, too, are unidentifiable and are looking out of the frame, uninterested. The effect is to imply that the waterfall and its computer interface dominate human interaction and possibly even human existence.

To think critically about point of view, answer the following questions:

From what place or stance does the image creator view the subject?
What effect does this particular point of view have on the way viewers may think or feel about the subject?
What would happen if the vantage point were elsewhere—above or below, left or right?
What would change in the image if the point of view were changed?

Arrangement

In addition to point of view, artists use arrangement to signal an image’s significance to the reader. The term arrangement in visual texts might be compared to terms such as order , organization , and structure in verbal texts, though the differences are substantial. While writers arrange , or put together, a story, essay, or poem to take place over time—that is, the time readers need to follow the text, line by line, through a number of pages—image creators arrange pictures in the two-dimensional space of their viewfinder, paper, or canvas to invite viewers to read in space rather than time. This difference is also evident in sculpture and other three-dimensional works, which require viewers to move around them to read them spatially. In visual texts, then, arrangement refers to the ways in which the various parts of a picture come together to present a single coherent experience for the viewer.

In contrast to static images, which are read spatially, videos and some types of multimodal texts—those incorporating more than one genre, discipline, or literacy (for example, GIFs that incorporate pictures or videos with language)—combine elements of both time and space. That is, they invite viewers to examine an image in motion that changes over time. Video creators often mimic linear time by telling a story, or they repeat key images to be interpreted differently after being seen in various contexts within the video.

One element to examine is the use of pattern —predictable, repeated elements within the visual field that the eye notices and seems attracted to. Just as sonnets, sestinas, and haiku follow patterns of lines, so do visual compositions. But in these, patterns are created by light and color rather than words. Documentary and commercial photographers often use visual patterns to lead viewers to an intended meaning. Patterns are especially prominent in street art, where the elements of surrounding architecture and infrastructure interact with the work, as shown in Figure 17.5 .

Many patterns are suggested by mathematics. For example, the Möbius strip is both a mathematical construct and a visual enigma. It has one side and one boundary curve. It looks like a spiral, but it does not intersect itself. Thus, it gives the impression of being infinite. In Figure 17.5 , the artist capitalizes on these features of the Möbius strip, using it to depict the seemingly endless cycle of destruction (green tanks) and reconstruction (yellow steamrollers) in one of the world’s most contested pieces of real estate: the Gaza Strip.

Ownership and control of the Gaza Strip are disputed. Approximately two million people live there, many in refugee camps. Since the mid-20th century, the region has been fought over by Israel, Egypt, and Palestinian Arabs. As you contemplate the mural, think about the way its creator uses pattern and repetition to convey various ideas and emotions. The following questions may help:

Which elements within the mural are repeated?
Where is its center of gravity or weight?
Where do patterns of light/dark, large/small, and color lead the eye?
How do pattern and balance contribute to meaning in a two-dimensional image?
What does the arrangement suggest about the meaning of the image?

Color and Symbol

Pattern and arrangement are controlled by the image creator and intended to guide the viewer. Color and symbol allow the viewer greater latitude in interpreting the image, in part because particular colors suggest specific moods. Think about your personal reactions to different colors. What color might you select to paint your bedroom? What is your favorite color for, say, clothing or cars? While these may differ according to personal preference, traditional symbolic values are attached to different colors in literature and art. Why, for instance, does red often symbolize anger or war on the one hand and romance or passion on the other? Why does black often suggest danger or death? And why does white often stand for innocence or purity? Are the reasons for these associations arbitrary, cultural, or logical?

Particular colors also suggest or reinforce social and political ideas. What, for example, is suggested by adding a red, white, and blue American flag to a magazine advertisement for an American automobile, political poster, or bumper sticker? What is the meaning of a yellow ribbon tied to a tree in front of a house or an image of a yellow ribbon sticker attached to the tailgate of a pickup truck? By themselves, colors do not specify political positions, arguments, or ideas, but used in conjunction with specific words or forms—a flag or ribbon, for example—the emotional power of color can be influential.

Color associations globally are complicated and highly nuanced. The following overview is brief and simplified, to be considered merely as an introduction or starting point for your research and investigations into individual artistic expressions. When you interpret an artist’s use of color, one place to start is with the hues found in the natural world. Because blood is red, the color is often associated with life, heat, and passion. Yellow and green appear with the new growth of spring, so these colors often symbolize new beginnings, freshness, and hope. Both the sea and the sky are blue. Although these elements can be turbulent, many people find peace and tranquility as they reflect on them, and thus they are often associated with these emotions.

Regardless of colors’ natural associations, people from around the world understand colors differently. In China, for example, red is a celebratory color associated with holidays, feasts, and the giving of gifts, whereas in some parts of Africa the color may symbolize the sacrifice necessitated by the fight for independence. In the Western world, white can represent purity or innocence and is often worn by young women at their weddings. However, in parts of Asia, white is a color of mourning.

The colors mentioned so far are mostly primary colors: red, yellow, and blue. The secondary colors—orange, green, and purple—carry more complex meanings. Both orange and the bright shade of green called neon or chartreuse are easy to see in all light conditions. Therefore, they are often used for safety purposes, on caution signs or uniforms of emergency workers. The color orange is associated with the robes of Buddhist monks, thus representing in Buddhist cultures that which is holy, whereas in the Netherlands, orange is the color of the royal family and used for patriotic purposes.

In addition to connotations of spring, the color green is also associated with Islam. In the Christian tradition, yellow and gold are colors associated with riches and abundance. Holiness is also associated with the color blue in Egyptian, Hindu, and Christian cultures (in which blue has other associations as well). Because purple has traditionally been a difficult color to manufacture, its rarity meant that only the very wealthy, often nobility or royalty, could afford to wear it—hence its association with royals and even gods. However, some cultures, such as Thai, Brazilian, and Italian cultures, associate purple with bad luck or death. Again, this overview of colors’ different interpretations and associations is not intended as a guide for interpreting color in a visual image. Instead, consider all of the different ways in which color can be understood, some ways that the artist might intend for color to be interpreted, and the associations that colors have for you when you view a visual or digital image.

In this chapter, you have begun learning about how to interpret visual information through the lens of rhetoric. Color and its related symbolism help viewers interpret images.

Like colors, symbols are interpreted differently by individuals on the basis of their personal and cultural experiences. Here is an example of two state flags with very different symbolism: Figure 17.6 depicts the state flag of Mississippi that was adopted in 1894; Figure 17.7 depicts the one adopted in 2021. In 2021, under pressure from numerous organizations and in the wake of the Black Lives Matter movement, Mississippi replaced its state flag. The 1894 flag included the battle flag of the Confederacy , referencing Mississippi’s history of secession and violence during the Civil War (1861–1865); the single blue, white, and red bands were a reference to the stripes on the American flag. This historical allusion, coupled with the state’s history of enslavement and segregation, meant that the 1894 flag served as a stark reminder of efforts to silence Black Mississippians. In fact, Mississippi did not formally ratify the Thirteenth Amendment to the Constitution—proposed in 1865 to abolish slavery—until 2013, and the state remained segregated long after the Supreme Court outlawed the practice.

Mississippi continued to use the 1894 flag throughout the Reconstruction (1865–1877) and the Jim Crow laws (ca. 1877–c. 1950) and civil rights (1950s and 1960s) eras despite multiple and sustained efforts to remove any reference to the Confederate flag. In 2020, the increasing prominence of the Black Lives Matter movement created the context in which state lawmakers were forced to consider these problems as mainstream and urgent. Further, the state came under pressure from numerous organizations, including the Southeastern Conference athletics organization (SEC), which threatened to boycott the state by no longer holding major events there if the flag were not changed.

Submitted to the legislature by Starkville-based graphic designer Rocky Vaughan (b. ca. 1977) and collaborators Sue Anna Joe , Kara Giles , and Dominique Pugh , the new flag took effect in January 2021 after voters approved it and the governor ratified it. The current flag ( Figure 17.7 ) features a central vertical band of blue, flanked by two thin gold bands and encompassed by two broader red ones. The flag’s center is dominated by a single magnolia flower, crowned by a single gold star and encircled by 20 white ones. Beneath the flower are emblazoned the words “In God We Trust.”

The gold coloring is intended to celebrate Mississippi’s contributions to the world of art, music, and literature. The white stars symbolize Mississippi’s status as the 20th state of the Union; thus, the new flag symbolizes the state’s reintegration into the Union without reference to its seditious acts in the 19th century or lingering loyalty to the beliefs that motivated them. In addition, the single gold star honors the state’s indigenous people; no reference is made to the state’s history of enslavement and racism.

Thinking critically about color and symbol, ask yourself these questions:

Does the color enhance or distort the reality of the image?
Imagine the image in shades of black, white, and gray. What would be lost and what would be gained if color were subtracted?
Does the color work with or against the other compositional elements?
What symbols are incorporated into the image? How might those symbols be interpreted in various contexts?
What, if any, is the significance of referencing Indigenous but not Black Americans on the current flag?

Selecting and Incorporating Digital and Visual Media

In addition to analyzing visual and digital media, you may be asked to find, create, or manipulate such materials for a variety of situations and audiences. Following are some considerations to keep in mind, including copyright issues, appropriate selections, and technical manipulations .

Intellectual property laws are complicated, change frequently, and vary by country. Sharing an image is similar to quoting a text, with one exception: you must not only cite the author in a reference list or bibliography but also secure permission to use the image. To be safe, unless an image explicitly states that you are free to share it (public domain), assume it is protected by copyright.

The texts you write will have varying degrees of formality and require different levels of diction (word choice), syntax (sentence structure), content, and tone. Similarly, the images you select should reflect the tone , or attitude, that you wish to convey in your text. Ask yourself these questions to decide whether an image is appropriate for your text:

What is the image’s purpose? Include images only if they add to or supplement the text. Do not add images simply as “filler” or for audience entertainment. Such materials are more likely to confuse or distract readers than they are to enlighten or inform them.

Is the image humorous or sarcastic? Humor has value as entertainment by keeping the audience interested and engaged in your text and making it more memorable. However, determining what makes something funny is deeply personal. An image you find funny could be read with confusion or even offense by someone else. In formal communications, humor and sarcasm are better avoided because of the risk of misunderstanding. In creative contexts, you have greater latitude.

Does the image include text? Because you are already creating a text, you may wish to question the value of inserting an image with text. Consider what information the image provides in addition to the text. For example, in Figure 17.3 , the text “I can’t breathe” is enhanced by its placement on a mask and, further, by the mask’s presence on a Black woman. These details make the image with its text a valuable addition to a discussion or analysis.

Consider also the language of the text. You may be fluent in multiple languages, so an image with text in Spanish, French, or Japanese could have meaning for you. Will it have meaning for your audience? The same applies to images that include slang, jargon, or slogans with a limited shelf life. If you have to explain the image’s meaning before your readers understand it, the image is probably not worth including.

What is the image’s context? Where and when the image is placed can affect the viewer’s understanding and interpretation. A picture of poverty in one country is likely to look very different from poverty in another country. Some images can be considered universal, meaning they depict situations that have significance for all people, regardless of culture, ethnicity, or historical context. For example, an image of a mother and an infant is easily recognized by anyone anywhere and is likely to evoke similar thoughts and emotions.

What digital or technical requirements or manipulations are needed? Finally, when you think about including an image, you’ll need to consider the digital and technical requirements and manipulations necessary to do so. Aspects to consider include compatibility requirements, visibility on different devices and platforms, sizing, and placement. The technical details associated with these considerations are changing rapidly, so this chapter makes no recommendations regarding software programs or specifications. However, if an image is blurred or distorted—or invisible—the result will be confusion and frustration on the part of your reader.

Selecting an Appropriate Image

To practice selecting appropriate images, imagine you are writing an informational webpage about the Environmental Protection Agency (EPA) and its responsibilities in relation to the Clean Water Act . To illustrate those responsibilities, which of the following images would you use? Why? (Suggested answers follow.)

Audio-Visual Film Essay

Author By simpsonrp
Publication date April 7, 2022
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Social & Rhetorical Function

Audio-visual film essays, more commonly known as “film video essays,” are film-criticism videos that edit and combine images and sounds from preexisting media with the goal of generating a deeper understanding of elements of film. Audio-visual film essays achieve this goal by using textual commentary and curated clips or stand-alone curated clips. They use rhetorical tools such as providing evidence (the clips), as well as borrow from long-standing video production techniques. 1

Although audio-visual essays are a large genre with videos ranging from multiple topics, such as videos explaining a political crisis or video essays about novels , the audio-visual film essay is a subset genre that has its own conventions apart from the overarching video essay genre.

Studying film through its subject, style, and story reveals truths of current or past historical circumstances, in turn reflecting societal conventions and issues. This aspect is of great importance to filmmakers who are often encouraged to “break open the form,” as well as members of society looking to understand more not only about film but about the world they experience. Audio-visual essays have become increasingly popular as forms of media become shorter in length , rendering in-depth analyses on a day-to-day basis uncommon.2

Audio-visual film essays take advantage of the media type’s affordances; written essays about film do not allow for the capturing of visual nuances.3 In the audio-visual format, the viewer gathers all relevant information quickly, as opposed to the written essayist that would have to convincingly illustrate each nuance. Audio-visual film essays approach the topic in different styles of execution depending on what best will respond to the rhetorical situation and social function of providing or generating insight.

History & Development

Filmmakers have long been cutting and re-appropriating images from film in order to make a specific argument or point rooted in larger societal themes. One of the first examples of an audio-visual film essay can be dated back to 1936 when Joseph Cornell released Rose Hobart , a surrealist collage with clips cut from East of Borneo (1931) and documentary footage of an eclipse.4 However, the mode of viewing and complicated production separates it from the nature of audio-visual film essays regarded today.

With the advent of technological advances, the audio-visual film essay grew in popularity. Film was not so easily accessible before, leaving many to only experience it live in theaters. According to Cristina Álvarez López & Adrian Martin in the 2014 journal Introduction to the audiovisual essay: A child of two mothers , the creation of VHS tapes in the 1970s made film more accessible to willing commentators. Previously, filmmakers had to scour studio dumpster bins to find thrown-out film. 5 With the ability to pause and play tapes, frame-by-frame analysis was made possible, allowing for the analysis of “nuances of facial expression, degrees of movement, or interplay of light and shadow,” as explained by Julia Vassilieva in the 2016 Explainer: the exciting new genre of the audio-visual film essay .6 Later, the introduction of streaming services, which have further altered the way that people access film and TV, allowed for an even quicker retrieval with its digitization.7

The introduction of widely accessible editing software and video hosting platforms also contributed to the genre’s popularity as more people have the means to produce. While filmmakers previously had to manually splice together film, its digitization also coalesced with the digitization of editing software. Editing software allowed creators to separate clips non-linearly, resulting in the stylistic elements of the video essay today. 8 Additionally, the creation of Youtube in 2005 and Vimeo in 2004 allowed users to post whatever they please on these platforms. 9

The invention of a genre also comes with strides to analyze the theoretical and instrumental practices of such genre, to the extent that some scholars such as Catherine Grant are considering it a new scholarly form of analysis. In 2013, the event Audiovisual Essay: Practice and Theory International Workshop was hosted in Frankfurt, Germany to discuss the new dimensions that audio-visual essays add to film and academia in general. 10

With the advent of streaming platforms, however, comes the ongoing debate of ownership within the film community, particularly in terms of what defines “fair use,” coinciding with the debate about the academic validity of audio-visual essays.11 There are also discussions regarding whether or not this genre disrespects the original work’s cohesion as more and more essayists continue to splice and refurbish existing work. 12

Substantive & Stylistic Elements

The organizing principle of the audio-visual film essay revolves around the creation and execution of a thesis relating to film theory. Because the audio-visual film essay’s social function is to generate insight, the essayist has to analyze film elements in a way that effectively supports the thesis and its societal insight.

Whether it be the thematic intentions of the director throughout various films or paying heed to certain elements of style in one film, all audio-visual film essays seek to prove an argument about an element(s) of film. Reflecting the social function of the video essay, the theses of audio-visual film essays reflect something about society with its message rooted in a philosophical , political , theoretical , or sociological perspective and conclusion while studying the film’s theory. In its purest form, the thesis is what expands and gives further perspective to the film’s intentions.

The substantive element audio-visual film essayists rely on while arguing their thesis is strategically refurbishing and splicing pre-existing media related to the topic. While the nature and execution of the media chosen may differ from video to video primarily based on either its omission or use of textual commentary, all media is chosen to further the creator’s argument.

The most commonly known form of video essays, that being those using textual commentary in the form of a voiceover, strategically complement the voiceover with curated clips to further the thesis. The execution and nature of the clips chosen depend on what best responds to the rhetorical situation depending on the video’s thesis. In Nerdwriter1’s The Prestige: Hiding In Plain Sight (2016), the creator uses eccentric-looking scenes of the film to illustrate the point about dynamic visuals that speaks to the thesis’ insight; that humans want to be surprised.13 However, the voiceover is not always simultaneously playing over the chosen clips. In StudioBinder’s Christopher Nolan Directing — A Video Essay on Nolan and Time (2021), the creator includes a video clip of Nolan in an interview, strengthening the creator’s point about how Nolan wants the viewer to consider the pressures of time. 14 The clip chosen may stand alone, but it still serves as evidence that the creator’s thesis is legitimate.

As mentioned, not all audio-visual film essays employ textual commentary. Adrian Martin and Cristina López’s audio-visual film essay The Melville Variations relies solely on refurbished clips to argue their thesis that places focus on the consistent set of props used throughout Jean-Pierre Melville films. 15 Without the verbal expression of the thesis, the strategic placement of clips results in sequences that allow the audience to deduce the topic. The creators prove something by providing inarguable evidence (the chosen clips) but leave it up to the audience to think more deeply. Regardless of the form, all audio-visual film essays edit and splice together pre-existing clips to strengthen their thesis arguments.

Within the substantive element of providing related clips exists the stylistic element of doing so in a “b-roll” manner, borrowing from the discipline being analyzed in every audio-visual film essay. While b-roll in its true definition refers to the footage shot by secondary camera crews, its goal and usage, as explained by the MasterClass staff in 2021, is to “create dramatic tension, further illustrate a point, and keep the audience engaged by providing variation.” 16 B-roll footage in film frequently appear as montages or cutaways. 17 In the case of audio-visual film essays, the clips move quickly and illustrate the essayist’s point. In Like Stories of Old’s Chernobyl – How The World Became A Risk Society (2019), the creators show nine different clips that all illustrate the broader point within that beat over the span of 45 seconds. 18 However, the level of overt voiceover-to-visual relation differs from video to video. In The Take’s American Psycho Ending Explained: What Really Happened? (2016) the creators use a three-second clip of the main character’s crazed face covered in blood when commenting on his psychosis–without the need to explain how the main character is experiencing psychosis. 19 In this case, the b-roll footage is word-by-word related to the voiceover for that section, whereas in the Chernobyl video essay, it relates to the broader themes and adds a low-vibration dramatic tone. Regardless of its nature, all audio-visual film essays utilize the b-roll footage style in order to keep the audience engaged and strengthen their thesis.

The organizing principle of effectively arguing a thesis through the curation and editing of preexisting audio-visual clips upholds the social function of audio-visual film essays–to generate further insight about various dimensions of society through film analysis.

MasterClass staff (26 August 2021). Learn About B-Roll Footage: Definition, and How to Use It in Video Production . MasterClass.
Orthwein, Jake (20 August 2017). The Age of the Video Essay . Film School Rejects.
Vassilieva, Julia (8 March 2016). Explainer: the exciting new genre of the audio-visual film essay . The Conversation .
Willis, Holly. Rose Hobart . Library of Congress National Film Preservation Board .
López, Cristina Álvarez & Adrian Martin (3 December 2014). Introduction to the audiovisual essay: A child of two mothers. Necsus.
Bresland, John (2010). On the Origin of the Video Essay. Blackbird Archive.
Nerdwriter1 (2016). The Prestige: Hiding In Plain Sight. Youtube.
StudioBinder (2021). Christopher Nolan Directing — A Video Essay on Nolan and Time. Youtube.
MasterClass staff (26 August 2021). Learn About B-Roll Footage: Definition, and How to Use It in Video Production . MasterClass.
Like Stories of Old (2019). Chernobyl – How The World Became A Risk Society . Youtube.
The Take (2016). American Psycho Ending Explained: What Really Happened? . Youtube.

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In This Article Expand or collapse the "in this article" section Cinema and the Visual Arts

Introduction.

Theoretical Intersections/Conceptual Frameworks
Themes and Issues
Historical Precursors: Surveys/Histories of the Avant-Garde
Historical Precursors: Early-20th-Century Art Movements and Film
Cinema and Painting
Cinema and Architecture
Cinema and Photography
Cinema and the Art Museum
Crossing Over: From Art to Film and Film to Art
A Special Case: Hitchcock and Art
Resource Guides: Films on Art
Documentaries/Educational Films on Art
Representations of Art on Film: Books
Representations of Art on Film: Articles on Artist Biopics
Representations of Art on Film: Articles on Artworks and Art Practices
Anthologies
Issues and Practices
Exhibition Catalogues
A Special Case: Paracinema

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Forthcoming articles expand or collapse the "forthcoming articles" section.

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Cinema and the Visual Arts by Christine Sprengler LAST REVIEWED: 11 May 2023 LAST MODIFIED: 30 October 2019 DOI: 10.1093/obo/9780199791286-0122

The relationship between cinema and the visual arts is a long and complex one, stretching back to cinema’s earliest years. It is one of reciprocity, defined by various acts of exchange and mining for legitimation, subversion, and inspiration. It involves the creative efforts of practitioners from both domains and experimental gestures that pitted one against the other, thought one through the other, and often blurred the distinctions between them. Connections between art movements and film movements, art theories and film theories, as well as individuals who contributed in various ways to both realms, have done much to foster multiple points of contact. Assessing cinema in relation to the visual arts is necessarily an interdisciplinary—or, increasingly, an “intermedial”—endeavor, one that requires drawing on scholarship in other, related areas of study. As such, certain scholarship is not covered here, but is accessible in other Oxford Bibliographies articles. For instance, early (philosophical) attempts to assess the status of film as art are covered in Early Film Theory (see the Oxford Bibliographies in Cinema and Media Studies article “ Film Theory before 1945 ”) and other entries on individuals whose work directly addressed such questions, including “ André Bazin ” and “ Sergei Eisenstein .” Furthermore, the concern here is not with “ Art Cinema ,” though some overlap with this category is unavoidable given the penchant of certain “art films” to also engage with art. Likewise, there are a few sources likely to be central to the “ Avant-Garde and Experimental Cinema ” article. However, this present article makes reference to only a selection, specifically to those explicitly invested in the history of dominant art movements and painting practices. This article is organized around three broad categories that represent the three main ways of conceptualizing cinema in relation to the visual arts: the nature of the relationship between cinema and the visual arts, representations of the visual arts in film, and cinematic art. The first requires elaboration, for it may appear to be a category capable of subsuming the others. The relationships of concern here are the ones explored through analyses of visual and material practices in contemporary culture. While historical precursors are considered, the bulk of this section focuses on how scholars might examine, for example, cinema in relation to photography or the affinities between cinema and architecture in terms of the experiences they offer. A final note: The majority of the citations included here are suitable for senior undergraduates, postgraduates, and scholars unless otherwise noted as written for “junior undergraduates” or “theoretically complex” and thus best tackled by experts in the field. Exhibition catalogues are a mixed bag, with some introductory essays geared toward a general, nonspecialized audience and others offering rigorous, sophisticated analyses. With the exception of Pelfrey 1996 (see Themes and Issues ) and McIver 2016 (cited under Crossing Over: From Art to Film and Film to Art ), no textbooks on this subject are available and only one journal, Moving Image Review and Art Journal deals with the topic.

The Relationship Between Cinema and the Visual Arts

The relationships that exist between the cinema and the visual (and other) arts have been the subject of much scholarly discussion and debate since the invention of film. Philosophical and theoretical reflections on these relationships and arguments about film as art have certainly informed how we broach this topic. However, consideration of this particular avenue into the subject can be found in other Oxford Bibliographies articles, as noted in the Introduction . The focus here is on analyses of the objects of visual and material culture. Where “theory” does enter into the equation is in a survey of contemporary texts that offer concepts, frameworks, methodological models, and questions that help us make sense of the practices that define this ever-changing relationship.

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Published: 31 October 2017

The visual essay and the place of artistic research in the humanities

Remco Roes 1 &
Kris Pint 1

Palgrave Communications volume 3 , Article number: 8 ( 2017 ) Cite this article

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What could be the place of artistic research in current contemporary scholarship in the humanities? The following essay addresses this question while using as a case study a collaborative artistic project undertaken by two artists, Remco Roes (Belgium) and Alis Garlick (Australia). We argue that the recent integration of arts into academia requires a hybrid discourse, which has to be distinguished both from the artwork itself and from more conventional forms of academic research. This hybrid discourse explores the whole continuum of possible ways to address our existential relationship with the environment: ranging from aesthetic, multi-sensorial, associative, affective, spatial and visual modes of ‘knowledge’ to more discursive, analytical, contextualised ones. Here, we set out to defend the visual essay as a useful tool to explore the non-conceptual, yet meaningful bodily aspects of human culture, both in the still developing field of artistic research and in more established fields of research. It is a genre that enables us to articulate this knowledge, as a transformative process of meaning-making, supplementing other modes of inquiry in the humanities.

Introduction

In Being Alive: Essays on Movement, Knowledge and Description (2011), Tim Ingold defines anthropology as ‘a sustained and disciplined inquiry into the conditions and potentials of human life’ (Ingold, 2011 , p. 9). For Ingold, artistic practice plays a crucial part in this inquiry. He considers art not merely as a potential object of historical, sociological or ethnographic research, but also as a valuable form of anthropological inquiry itself, providing supplementary methods to understand what it is ‘to be human’.

In a similar vein, Mark Johnson’s The meaning of the body: aesthetics of human understanding (2007) offers a revaluation of art ‘as an essential mode of human engagement with and understanding of the world’ (Johnson, 2007 , p. 10). Johnson argues that art is a useful epistemological instrument because of its ability to intensify the ordinary experience of our environment. Images Footnote 1 are the expression of our on-going, complex relation with an inner and outer environment. In the process of making images of our environment, different bodily experiences, like affects, emotions, feelings and movements are mobilised in the creation of meaning. As Johnson argues, this happens in every process of meaning-making, which is always based on ‘deep-seated bodily sources of human meaning that go beyond the merely conceptual and propositional’ (Ibid., p. 11). The specificity of art simply resides in the fact that it actively engages with those non-conceptual, non-propositional forms of ‘making sense’ of our environment. Art is thus able to take into account (and to explore) many other different meaningful aspects of our human relationship with the environment and thus provide us with a supplementary form of knowledge. Hence Ingold’s remark in the introduction of Making: anthropology, archaeology, art and architecture (2013): ‘Could certain practices of art, for example, suggest new ways of doing anthropology? If there are similarities between the ways in which artists and anthropologists study the world, then could we not regard the artwork as a result of something like an anthropological study, rather than as an object of such study? […] could works of art not be regarded as forms of anthropology, albeit ‘written’ in non-verbal media?’ (Ingold, 2013 , p. 8, italics in original).

And yet we would hesitate to unreservedly answer yes to these rhetorical questions. For instance, it is true that one can consider the works of Francis Bacon as an anthropological study of violence and fear, or the works of John Cage as a study in indeterminacy and chance. But while they can indeed be seen as explorations of the ‘conditions and potentials of human life’, the artworks themselves do not make this knowledge explicit. What is lacking here is the logos of anthropology, logos in the sense of discourse, a line of reasoning. Therefore, while we agree with Ingold and Johnson, the problem remains how to explicate and communicate the knowledge that is contained within works of art, how to make it discursive ? How to articulate artistic practice as an alternative, yet valid form of scholarly research?

Here, we believe that a clear distinction between art and artistic research is necessary. The artistic imaginary is a reaction to the environment in which the artist finds himself: this reaction does not have to be conscious and deliberate. The artist has every right to shrug his shoulders when he is asked for the ‘meaning’ of his work, to provide a ‘discourse’. He can simply reply: ‘I don’t know’ or ‘I do not want to know’, as a refusal to engage with the step of articulating what his work might be exploring. Likewise, the beholder or the reader of a work of art does not need to learn from it to appreciate it. No doubt, he may have gained some understanding about ‘human existence’ after reading a novel or visiting an exhibition, but without the need to spell out this knowledge or to further explore it.

In contrast, artistic research as a specific, inquisitive mode of dealing with the environment requires an explicit articulation of what is at stake, the formulation of a specific problem that determines the focus of the research. ‘Problem’ is used here in the neutral, etymological sense of the word: something ‘thrown forward’, a ‘hindrance, obstacle’ (cf. probleima , Liddell-Scott’s Greek-English Lexicon). A body-in-an-environment finds something thrown before him or her, an issue that grabs the attention. A problem is something that urges us to explore a field of experiences, the ‘potentials of human life’ that are opened up by a work of art. It is often only retroactively, during a second, reflective phase of the artistic research, that a formulation of a problem becomes possible, by a selection of elements that strikes one as meaningful (again, in the sense Johnson defines meaningful, thus including bodily perceptions, movements, affects, feelings as meaningful elements of human understanding of reality). This process opens up, to borrow a term used by Aby Warburg, a ‘Denkraum’ (cf. Gombrich, 1986 , p. 224): it creates a critical distance from the environment, including the environment of the artwork itself: this ‘space for thought’ allows one to consciously explore a specific problem. Consciously here does not equal cerebral: the problem is explored not only in its intellectual, but also in its sensual and emotional, affective aspects. It is projected along different lines in this virtual Denkraum , lines that cross and influence each other: an existential line turns into a line of form and composition; a conceptual line merges into a narrative line, a technical line echoes an autobiographical line. There is no strict hierarchy in the different ‘emanations’ of a problem. These are just different lines contained within the work that interact with each other, and the problem can ‘move’ from one line to another, develop and transform itself along these lines, comparable perhaps to the way a melody develops itself when it is transposed to a different musical scale, a different musical instrument, or even to a different musical genre. But, however, abstract or technical one formulates a problem, following Johnson we argue that a problem is always a translation of a basic existential problem, emerging from a specific environment. We fully agree with Johnson when he argues that ‘philosophy becomes relevant to human life only by reconnecting with, and grounding itself in, bodily dimensions of human meaning and value. Philosophy needs a visceral connection to lived experience’ (Johnson, 2007 , p. 263). The same goes for artistic research. It too finds its relevance in the ‘visceral connection’ with a specific body, a specific situation.

Words are one way of disclosing this lived experience, but within the context of an artistic practice one can hardly ignore the potential for images to provide us with an equally valuable account. In fact, they may even prove most suited to establish the kind of space that comes close to this multi-threaded, embodied Denkraum . In order to illustrate this, we would like to present a case study, a short visual ‘essay’ (however, since the scope of four spreads offers only limited space, it is better to consider it as the image-equivalent of a short research note).

Case study: step by step reading of a visual essay

The images (1, 2, 3, 4, 5) form a short visual essay based on a collaborative artistic project 'Exercises of the man (v)' that Remco Roes and Alis Garlick realised for the Situation Symposium at Royal Melbourne Institute of Technology in Melbourne in 2014. One of the conceptual premises of the project was the communication of two physical ‘sites’ through digital media. Roes—located in Belgium—would communicate with Garlick—in Australia—about an installation that was to be realised at the physical location of the exhibition in Melbourne. Their attempts to communicate (about) the site were conducted via e-mail messages, Skype-chats and video conversations. The focus of these conversations increasingly distanced itself from the empty exhibition space of the Design Hub and instead came to include coincidental spaces (and objects) that happened to be close at hand during the 3-month working period leading up to the exhibition. The focus of the project thus shifted from attempting to communicate a particular space towards attempting to communicate the more general experience of being in(side) a space. The project led to the production of a series of small in-situ installations, a large series of video’s and images, a book with a selection of these images as well as texts from the conversations, and the final exhibition in which artefacts that were found during the collaborative process were exhibited. A step by step reading of the visual argument contained within images of this project illustrates how a visual essay can function as a tool for disclosing/articulating/communicating the kind of embodied thinking that occurs within an artistic practice or practice-based research.

Figure 1 shows (albeit in reduced form) a field of photographs and video stills that summarises the project without emphasising any particular aspect. Each of the Figs. 2 – 5 isolate different parts of this same field in an attempt to construct/disclose a form of visual argument (that was already contained within the work). In the final part of this essay we will provide an illustration of how such visual sequences can be possibly ‘read’.

First image of the visual essay. Remco Roes and Alis Garlick, as copyright holders, permit the publication of this image under a Creative Commons Attribution 4.0 International License

Second image of the visual essay. Remco Roes and Alis Garlick, as copyright holders, permit the publication of this image under a Creative Commons Attribution 4.0 International License

Third image of the visual essay. Remco Roes and Alis Garlick, as copyright holders, permit the publication of this image under a Creative Commons Attribution 4.0 International License

Fourth image of the visual essay. Remco Roes and Alis Garlick, as copyright holders, permit the publication of this image under a Creative Commons Attribution 4.0 International License

Fifth image of the visual essay. Remco Roes and Alis Garlick, as copyright holders, permit the publication of this image under a Creative Commons Attribution 4.0 International License

Figure 1 is a remnant of the first step that was taken in the creation of the series of images: significant, meaningful elements in the work of art are brought together. At first, we quite simply start by looking at what is represented in the pictures, and how they are presented to us. This act of looking almost inevitably turns these images into a sequence, an argument. Conditioned by the dominant linearity of writing, including images (for instance in a comic book) one ‘reads’ the images from left to right, one goes from the first spread to the last. Just like one could say that a musical theme or a plot ‘develops’, the series of images seem to ‘develop’ the problem, gradually revealing its complexity. The dominance of this viewing code is not to be ignored, but is of course supplemented by the more ‘holistic’ nature of visual perception (cf. the notion of ‘Gestalt’ in the psychology of perception). So unlike a ‘classic’ argumentation, the discursive sequence is traversed by resonance, by non-linearity, by correspondences between elements both in a single image and between the images in their specific positioning within the essay. These correspondences reveal the synaesthetic nature of every process of meaning-making: ‘The meaning of something is its relations, actual and potential, to other qualities, things, events, and experiences. In pragmatist lingo, the meaning of something is a matter of how it connects to what has gone before and what it entails for present or future experiences and actions’ (Johnson, 2007 , p. 265). The images operate in a similar way, by bringing together different actions, affects, feelings and perceptions into a complex constellation of meaningful elements that parallel each other and create a field of resonance. These connections occur between different elements that ‘disturb’ the logical linearity of the discourse, for instance by the repetition of a specific element (the blue/yellow opposition, or the repetition of a specific diagonal angle).

Confronted with these images, we are now able to delineate more precisely the problem they express. In a generic sense we could formulate it as follows: how to communicate with someone who does not share my existential space, but is nonetheless visually and acoustically present? What are the implications of the kind of technology that makes such communication possible, for the first time in human history? How does it influence our perception and experience of space, of materiality, of presence?

Artistic research into this problem explores the different ways of meaning-making that this new existential space offers, revealing the different conditions and possibilities of this new spatiality. But it has to be stressed that this exploration of the problem happens on different lines, ranging from the kinaesthetic perception to the emotional and affective response to these spaces and images. It would, thus, be wrong to reduce these experiences to a conceptual framework. In their actions, Roes and Garlick do not ‘make a statement’: they quite simply experiment with what their bodies can do in such a hybrid space, ‘wandering’ in this field of meaningful experiences, this Denkraum , that is ‘opened up’: which meaningful clusters of sensations, affects, feelings, spatial and kinaesthetic qualities emerge in such a specific existential space?

In what follows, we want to focus on some of these meaningful clusters. As such, these comments are not part of the visual essay itself. One could compare them to ‘reading remarks’, a short elaboration on what strikes one as relevant. These comments also do not try to ‘crack the code’ of the visual material, as if they were merely a visual and/or spatial rebus to be solved once and for all (‘ x stands for y’ ). They rather attempt to engage in a dialogue with the images, a dialogue that of course does not claim to be definitive or exhaustive.

The constellation itself generates a sense of ‘lacking’: we see that there are two characters intensely collaborating and interacting with each other, while never sharing the same space. They are performing, or watching the other perform: drawing a line (imaginary or physically), pulling, wrapping, unpacking, watching, framing, balancing. The small arrangements, constructions or compositions that are made as a result of these activities are all very fragile, shaky and their purpose remains unclear. Interaction with the other occurs only virtually, based on the manipulation of small objects and fragments, located in different places. One of the few materials that eventually gets physically exported to the other side, is a kind of large plastic cover. Again, one should not ‘read’ the picture of Roes with this plastic wrapped around his head as an expression, a ‘symbol’ of individual isolation, of being wrapped up in something. It is simply the experience of a head that disappears (as a head appears and disappears on a computer screen when it gets disconnected), and the experience of a head that is covered up: does it feel like choking, or does it provide a sense of shelter, protection?

A different ‘line’ operates simultaneously in the same image: that of a man standing on a double grid: the grid of the wet street tiles and an alternative, oblique grid of colourful yellow elements, a grid which is clearly temporal, as only the grid of the tiles will remain. These images are contrasted with the (obviously staged) moment when the plastic arrives at ‘the other side’: the claustrophobia is now replaced with the openness of the horizon, the presence of an open seascape: it gives a synaesthetic sense of a fresh breeze that seems lacking in the other images.

In this case, the contrast between the different spaces is very clear, but in other images we also see an effort to unite these different spaces. The problem can now be reformulated, as it moves to another line: how to demarcate a shared space that is both actual and virtual (with a ribbon, the positioning of a computer screen?), how to communicate with each other, not only with words or body language, but also with small artefacts, ‘meaningless’ junk? What is the ‘common ground’ on which to walk, to exchange things—connecting, lining up with the other? And here, the layout of the images (into a spread) adds an extra dimension to the original work of art. The relation between the different bodies does now not only take place in different spaces, but also in different fields of representation: there is the space of the spread, the photographed space and in the photographs, the other space opened up by the computer screen, and the interaction between these levels. We see this in the Fig. 3 where Garlick’s legs are projected on the floor, framed by two plastic beakers: her black legging echoing with the shadows of a chair or a tripod. This visual ‘rhyme’ within the image reveals how a virtual presence interferes with what is present.

The problem, which can be expressed in this fundamental opposition between presence/absence, also resonates with other recurring oppositions that rhythmically structure these images. The images are filled with blue/yellow elements: blue lines of tape, a blue plexi form, yellow traces of paint, yellow objects that are used in the video’s, but the two tones are also conjured up by the white balance difference between daylight and artificial light. The blue/yellow opposition, in turn, connects with other meaningful oppositions, like—obviously—male/female, or the same oppositional set of clothes: black trousers/white shirt, grey scale images versus full colour, or the shadow and the bright sunlight, which finds itself in another opposition with the cold electric light of a computer screen (this of course also refers to the different time zones, another crucial aspect of digital communication: we do not only not share the same place, we also do not share the same time).

Yet the images also invite us to explore certain formal and compositional elements that keep recurring. The second image, for example, emphasises the importance placed in the project upon the connecting of lines, literally of lining up. Within this image the direction and angle of these lines is ‘explained’ by the presence of the two bodies, the makers with their roles of tape in hand. But upon re-reading the other spreads through this lens of ‘connecting lines’ we see that this compositional element starts to attain its own visual logic. Where the lines in image 2 are literally used as devices to connect two (visual) realities, they free themselves from this restricted context in the other images and show us the influence of circumstance and context in allowing for the successful establishing of such a connection.

In Fig. 3 , for instance, we see a collection of lines that have been isolated from the direct context of live communication. The way two parts of a line are manually aligned (in the split-screens in image 2) mirrors the way the images find their position on the page. However, we also see how the visual grammar of these lines of tape is expanded upon: barrier tape that demarcates a working area meets the curve of a small copper fragment on the floor of an installation, a crack in the wall follows the slanted angle of an assembled object, existing marks on the floor—as well as lines in the architecture—come into play. The photographs widen the scale and angle at which the line operates: the line becomes a conceptual form that is no longer merely material tape but also an immaterial graphical element that explores its own argument.

Figure 4 provides us with a pivotal point in this respect: the cables of the mouse, computer and charger introduce a certain fluidity and uncontrolled motion. Similarly, the erratic markings on the paper show that an author is only ever partially in control. The cracked line in the floor is the first line that is created by a negative space, by an absence. This resonates with the black-stained edges of the laser-cut objects, laid out on the desktop. This fourth image thus seems to transform the manifestation of the line yet again; from a simple connecting device into an instrument that is able to cut out shapes, a path that delineates a cut, as opposed to establishing a connection. The circle held up in image 4 is a perfect circular cut. This resonates with the laser-cut objects we see just above it on the desk, but also with the virtual cuts made in the Photoshop image on the right. We can clearly see how a circular cut remains present on the characteristic grey-white chessboard that is virtual emptiness. It is evident that these elements have more than just an aesthetic function in a visual argumentation. They are an integral part of the meaning-making process. They ‘transpose’ on a different level, i.e., the formal and compositional level, the central problem of absence and presence: it is the graphic form of the ‘cut’, as well as the act of cutting itself, that turns one into the other.

Concluding remarks

As we have already argued, within the frame of this comment piece, the scope of the visual essay we present here is inevitably limited. It should be considered as a small exercise in a specific genre of thinking and communicating with images that requires further development. Nonetheless, we hope to have demonstrated the potentialities of the visual essay as a form of meaning-making that allows the articulation of a form of embodied knowledge that supplements other modes of inquiry in the humanities. In this particular case, it allows for the integration of other meaningful, embodied and existential aspects of digital communication, unlikely to be ‘detected’ as such by an (auto)ethnographic, psychological or sociological framework.

The visual essay is an invitation to other researchers in the arts to create their own kind of visual essays in order to address their own work of art or that of others: they can consider their artistic research as a valuable contribution to the exploration of human existence that lies at the core of the humanities. But perhaps it can also inspire scholars in more ‘classical’ domains to introduce artistic research methods to their toolbox, as a way of taking into account the non-conceptual, yet meaningful bodily aspects of human life and human artefacts, this ‘visceral connection to lived experience’, as Johnson puts it.

Obviously, a visual essay runs the risk of being ‘shot by both sides’: artists may scorn the loss of artistic autonomy and ‘exploitation’ of the work of art in the service of scholarship, while academic scholars may be wary of the lack of conceptual and methodological clarity inherent in these artistic forms of embodied, synaesthetic meaning. The visual essay is indeed a bastard genre, the unlawful love (or perhaps more honestly: love/hate) child of academia and the arts. But precisely this hybrid, impure nature of the visual essay allows it to explore unknown ‘conditions and potentials of human life’, precisely because it combines imagination and knowledge. And while this combination may sound like an oxymoron within a scientific, positivistic paradigm, it may in fact indicate the revival, in a new context, of a very ancient alliance. Or as Giorgio Agamben formulates it in Infancy and history: on the destruction of experience (2007 [1978]): ‘Nothing can convey the extent of the change that has taken place in the meaning of experience so much as the resulting reversal of the status of the imagination. For Antiquity, the imagination, which is now expunged from knowledge as ‘unreal’, was the supreme medium of knowledge. As the intermediary between the senses and the intellect, enabling, in phantasy, the union between the sensible form and the potential intellect, it occupies in ancient and medieval culture exactly the same role that our culture assigns to experience. Far from being something unreal, the mundus imaginabilis has its full reality between the mundus sensibilis and the mundus intellegibilis , and is, indeed, the condition of their communication—that is to say, of knowledge’ (Agamben, 2007 , p. 27, italics in original).

And it is precisely this exploration of the mundus imaginabilis that should inspire us to understand artistic research as a valuable form of scholarship in the humanities.

We consider images as a broad category consisting of artefacts of the imagination, the creation of expressive ‘forms’. Images are thus not limited to visual images. For instance, the imagery used in a poem or novel, metaphors in philosophical treatises (‘image-thoughts’), actual sculptures or the imaginary space created by a performance or installation can also be considered as images, just like soundscapes, scenography, architecture.

Agamben G (2007) Infancy and history: on the destruction of experience [trans. L. Heron]. Verso, London/New York, NY

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The Visual Medium Has a Message

How does the medium in which an image is rendered, its materiality, shape our perception of the subject matter?

Xavier University of Louisiana Men's Basketball Team, c. 1939-40

What is the difference between a painting and a photograph?

The artist’s role as the creator of a painting is usually obvious. Even the most casual viewer recognizes the artist’s signature or the choices that must be made when putting paint on canvas. In contrast, many assume that photographs have an unshakeable veracity, that they capture the world exactly as it is. Yet, just as anyone who recognizes themselves in a family photograph can attest, photographs obscure or leave out just as much reality as they contain. As Alan Trachtenberg notes , “They are, we learn, vulnerable to exactly the same obscurities of other forms of evidence.”

The Medium Has a Message

Visual works, no matter what form they take, are subject to both the limitations and possibilities of their medium. Medium refers to what material a visual work is made of: the vehicle for an idea. This could refer to a general form, like sculpture or drawing, or a specific material, like marble or charcoal on paper.

By understanding how a visual medium shapes interpretations of a work’s subject matter, unique perspectives on the same subject begin to emerge, highlighted by the capabilities of different media or the expectations viewers bring to a medium.

Of Time and Space

Consider a photograph of a basketball player, mid-shot. Photography as a medium has the capability to freeze movement in time, to capture actions and interactions in a split second. Given this technical possibility, photography reflects a moment in a way that no other medium can. Yet this photograph is not a complete representation of basketball as a sport, this particular game, or even this specific moment on the court.

The photograph below, for example, seems to give a complete picture of the game: the viewer sees the ball, the players, the crowd, and the referee. Yet much is left out of the image, and hints of this can be found lurking everywhere. In the image itself, there are glimpses of what’s missing, like the shoes peaking up from the bottom of the frame that allude to someone just out of view. Most viewers see a player mid-layup and can infer what came before and after this moment in time, but a single photograph cannot truly capture this; it remains in the viewer’s imagination only.

Xavier University of Louisiana Men's Basketball Game Versus Tulane University

Photography’s ability to create a visual representation of something is not as restricted or limited to a single visual truth about a moment as it may seem. The creator makes many choices that lead to this image. The photographer of the image above could have made any number of minor or significant changes that would have completely altered viewers’ perceptions of that moment. A photographer chooses what to include in the frame and what to leave out. They choose the moment when they release the shutter and capture an image. They choose how quickly the aperture closes, deciding what the balance between detail and movement will be.

In the image above, for example, the photographer captures nuanced details about the player’s interactions and expressions from the sweat glistening on the central player’s neck to the anticipation on his teammate’s face. An understanding of movement in this image comes not from the photograph actually capturing movement but from the viewer’s familiarity with what likely led to—and followed—the moment when these players found themselves mid-air.

This stands in contrast to the image below, in which the movement and urgency of the player’s actions are prioritized over capturing clear details. Rather than freezing motion in time to reflect minute details of the moment, the photographer of the image below made the choice to leave the camera shutter open just a bit longer. The resulting image represents movement and gives an emotional impression in a completely different way than the photograph above.

1987 Bucknell University men's basketball game against Rider University

Other visual art forms, like painting, are not temporally bound. While both photographs and paintings are static and two-dimensional, painters can defy time and perspective to create a particular and deliberate visual impression.

The painting above, for example, may depict all the players in a single moment, just as a photograph would. Yet the medium allows the artist to show them improbably placed on a single plane, flattened and equal in size and importance. The basketball players are carefully positioned in a way that suggests movement, but this comes from their angled limbs and their music note-like positioning on the court. This stands in contrast to photography, where movement is inferred based on viewers’ understanding of the physical world and their expectations about how photography captures this.

The players in this painting are also viewed directly from the side, yet we see the court shrunken and upturned behind the figures. Paint provides the painter with opportunities to depict these basketball players in ways that photography and other mediums could not. Perspective can be manipulated and rhythm can be created through any medium, but paint makes possible this flat, multi-perspective depiction that emphasizes rhythm through contrast and repetition.

When visual experiences move into three dimensions, they communicate differently still. Unlike flat works, three-dimensional works like sculptures enter our space and interact with the physical world. They shift with the environment around them and reveal something new with each change in the viewer’s position. A photograph of a three-dimensional work can only capture one perspective of a sculpture in a single moment, but changes that emerge as one peeks around the corner or observes the sculpture over time can be easily imagined.

In the proposed sculpture above, viewers would experience basketball from an impossible perspective, one which changes with the viewers’ movements and the seasons. From this sketch the net and ball may be quickly recognizable, but consider the perspective of the tiny viewers depicted in the image. Claes Oldenberg’s proposed sculpture gives the viewer the perspective not of an audience member or a player but of the fingertips of a player, just as the ball makes it into the basket. Where a photograph might seek to elicit the excitement of the crowd in a viewer, this sculpture would instead excite a viewer with the energy that would course through a player’s fingertips as they brush the hoop. This is an experience that only large-scale, open-air sculpture could create.

Different still is the experience of installations, works that are difficult to define but generally create an experience for the viewer in a particular time or place. Like a sculpture, Xiuzhen Yin’s installation, Prize of Desire (Basketball) , can be viewed from many perspectives and with changing context.

Prize of Desire: Basketball by Xiuzhen Yin, 2003

Unlike sculpture, however, installations are not fixed or static. The basketball may roll, a shirt’s creases may settle. The viewer’s visual experience changes depending on time and place and, as with some installations, upon interaction with the items. Here, items like the basketball exist in the viewer’s world, at their scale.

A photograph allows the viewer to observe an image from exactly the perspective of the photographer, but an installation allows the creator to construct an environment in which the viewer has a singular, unique visual experience. A painting allows the viewer to experience many perspectives at once and share the painter’s impression of the subject, while a sculpture engages with a changing physical environment. Each provides a way to engage with the subject matter that another medium could not.

Consider the following images. Focus on what you can see and how the medium impacts your perception of the subject matter.

What is unique about each depiction?
How do you think the medium chosen impacts these unique features?
How is your understanding of the subject enriched by each medium?
What is each work able to convey through their medium that the others cannot?

Want to learn more about using close looking to explore images? Check out Cultivating the Art of Slow Looking .

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Visual Analysis: How to Analyze a Painting and Write an Essay

A visual analysis essay is an entry-level essay sometimes taught in high school and early university courses. Both communications and art history students use visual analysis to understand art and other visual messages. In our article, we will define the term and give an in-depth guide on how to look at a piece of art and write a visual analysis essay. Stay tuned until the end for a handy visual analysis essay example from our graduate paper writing service .

What Is Visual Analysis?

Visual analysis is the process of looking at a piece of visual art (painting, photography, film, etc.) and dissecting it for the artist’s intended meaning and means of execution. In some cases, works are also analyzed for historical significance and their impact on culture, art, politics, and the social consciousness of the time. This article will teach you how to perform a formal analysis of art.

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A visual analysis essay is a type of essay written mostly by students majoring in Art History and Communications. The process of visual analysis can be applied to painting, visual art, journalism, photo-journalism, photography, film, and writing. Works in these mediums are often meant to be consumed for entertainment or informative purposes. Visual analysis goes beyond that, focusing on form, themes, execution, and the compositional elements that make up the work.

Classical paintings are a common topic for a visual analysis essay because of their depth and historical significance. Take the famous Raphael painting Transfiguration. At first glance, it is an attractive image showing a famous scene from the Bible. But a more in-depth look reveals practical painting techniques, relationships between figures, heavy symbolism, and a remarkable choice of colors by the talented Raphael. This deeper look at a painting, a photograph, visual or written art is the process of visual analysis.

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Formal Analysis of Art: Who Does It?

Most people who face visual analysis essays are Communication, English, and Art History students. Communications students explore mediums such as theater, print media, news, films, photos — basically anything. Comm is basically a giant, all-encompassing major where visual analysis is synonymous with Tuesday.

Art History students study the world of art to understand how it developed. They do visual analysis with every painting they look it at and discuss it in class.

English Literature students perform visual analysis too. Every writer paints an image in the head of their reader. This image, like a painting, can be clear, or purposefully unclear. It can be factual, to the point, or emotional and abstract like Ulysses, challenging you to search your emotions rather than facts and realities.

How to Conduct Visual Analysis: What to Look For

Whether you study journalism or art, writing a visual analysis essay will be a frequent challenge on your academic journey. The primary principles can be learned and applied to any medium, regardless of whether it’s photography or painting.

For the sake of clarity, we’ve chosen to talk about painting, the most common medium for the formal analysis of art.

In analyzing a painting, there are a few essential points that the writer must know.

Who is the painter, and what era of art did they belong to? Classical painters depict scenes from the Bible, literature, or historical events (like the burning of Rome or the death of Socrates). Modernists, on the other hand, tend to subvert classical themes and offer a different approach to art. Modernism was born as a reaction to classical painting, therefore analyzing modernist art by the standards of classical art would not work.
What was the painter’s purpose? Classical painters like Michelangelo were usually hired by the Vatican or by noble families. Michelangelo didn’t paint the Sistine Chapel just for fun; he was paid to do it.
Who is the audience? Artists like Andy Warhol tried to appeal to the masses. Others like Marcel Duchamp made art for art people, aiming to evolve the art form.
What is the historical context? Research your artist/painting thoroughly before you write. The points of analysis that can be applied to a Renaissance painter cannot be applied to a Surrealist painter. Surrealism is an artistic movement, and understanding its essence is the key to analyzing any surrealist painting.

Familiarizing yourself with these essential points will give you all the information and context, you need to write a good visual analysis essay.

But visual analysis can go deeper than that — especially when dealing with historic pieces of visual art. Students explore different angles of interpretation, the interplay of colors and themes, how the piece was made and various reactions, and critiques of it. Let’s dig deeper.

A Detailed Process of Analyzing Visual Art

Performing a formal analysis of art is a fundamental skill taught at entry-level art history classes. Students who study art or communications further develop this skill through the years. Not all types of analysis apply to every work of art; every art piece is unique. When performing visual analysis, it’s essential to keep in mind why this particular work of art is important in its own way.

Step 1: General Info

To begin, identify the following necessary information on the work of art and the artist.

Subject — who or what does this work represent?
Artist — who is the author of this piece? Refer to them by their last name.
Date and Provenance — when and where this work of art was made. Is it typical to its historical period or geographical location?
Past and Current Locations — where was this work was displayed initially, and where is it now?
Medium and Creation Techniques — what medium was this piece made for and why is it important to that medium? Note which materials were used in its execution and its size.

Step 2: Describe the Painting

Next, describe what the painting depicts or represents. This section will be like an abstract, summarizing all the visible aspects of the piece, painting the image in the reader’s mind. Here are the dominant features to look for in a painting:

Characters or Figures: who they are and what they represent.
If this is a classical painting, identify the story or theme depicted.
If this is an abstract painting, pay attention to shapes and colors.
Lighting and overall mood of the painting.
Identify the setting.

Step 3: Detailed Analysis

The largest chunk of your paper will focus on a detailed visual analysis of the work. This is where you go past the basics and look at the art elements and the principles of design of the work.

Art elements deal mostly with the artist’s intricate painting techniques and basics of composition.

Lines — painters use a variety of lines ranging from straight and horizontal to thick, curved, even implied lines.
Shapes — shapes can be distinct or hidden in plain sight; note all the geometrical patterns of the painting.
Use of Light — identify the source of light, or whether the lighting is flat; see whether the painter chooses contrasting or even colors and explain the significance of their choice in relation to the painting.
Colors — identify how the painter uses color; which colors are primary, which are secondary; what is the tone of the painting (warm or cool?)
Patterns — are there repeating patterns in the painting? These could be figures as well as hidden textural patterns.
Use of Space — what kind of perspective is used in the painting; how does the artist show depth (if they do).
Passage of Time and Motion

Design principles look at the painting from a broader perspective; how the art elements are used to create a rounded experience from an artistic and a thematic perspective.

Variety and Unity - explore how rich and varied the artists’ techniques are and whether they create a sense of unity or chaos.
Symmetry or Asymmetry - identify points of balance in the painting, whether it’s patterns, shapes, or use of colors.
Emphasis - identify the points of focus, both from a thematic and artistic perspective. Does the painter emphasize a particular color or element of architecture?
Proportions - explain how objects and figures work together to provide a sense of scale, mass, and volume to the overall painting.
Use of Rhythm - identify how the artist implies a particular rhythm through their techniques and figures.

Seeing as each work of art is unique, be thoughtful in which art elements and design principles you wish to discuss in your essay. Visual analysis does not limit itself to painting and can also be applied to mediums like photography.

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The Structure: How to Write a Visual Analysis Paper

It’s safe to use the five-paragraph essay structure for your visual analysis essay. If you are looking at a painting, take the most important aspects of it that stand out to you and discuss them in relation to your thesis. Structure it with the simple essay structure:

Introduction: An introduction to a visual analysis essay serves to give basic information on the work of art and briefly summarize the points of discussion.

Give a brief description of the painting: name of artist, year, artistic movement (if necessary), and the artist’s purpose in creating this work.
Briefly describe what is in the painting.
Add interesting facts about the artist, painting, or historical period to give your reader some context.
As in all introductions, don’t forget to include an attention-grabber to get your audience interested in reading your work.

Thesis: In your thesis, state the points of analysis on this work of art which you will discuss in your essay.

Body: Explore the work of art and all of its aspects in detail. Refer to the section above titled “A Detailed Process of Analyzing Visual Art,” which will comprise most of your essay’s body.

Conclusion: After you’ve thoroughly analyzed the painting and the artist’s techniques, give your thoughts and opinions on the work. Your observations should be based on the points of analysis in your essay. Discuss how the art elements and design principles of the artist give the painting meaning and support your observations with facts from your essay.

Citation: Standard citation rules apply to these essays. Use in-text citations when quoting a book, website, journal, or a movie, and include a sources cited page listing your sources. And there’s no need to worry about how to cite a piece of art throughout the text. Explain thoroughly what work of art you’re analyzing in your introduction, and refer to it by name in the body of your essay like this — Transfiguration by Raphael.

If you want a more in-depth look at the classic essay structure, feel free to visit our 5 PARAGRAPH ESSAY blog

Learn From a Visual Analysis Example

Many YouTube videos are analyzing famous paintings like the Death of Socrates, which can be a great art analysis example to go by. But the best way to understand the format and presentation is by looking at a painting analysis essay example done by a scholarly writer. One of our writers has penned an outstanding piece on Leonardo Da Vinci’s La Belle Ferronnière, which you may find below. Use it as a reference point for your visual analysis essay, and you can’t go wrong!

Leonardo da Vinci was an Italian artist born in April 1452 and died in May 1519who lived in the Renaissance era. His fame and popularity were based on his painting sand contribution to the Italian artwork. Leonardo was also an active inventor, a vibrant musician, writer, and scientist as well as a talented sculptor amongst other fields. His various career fields proved that he wanted to know everything about nature. In the book “Leonardo Da Vinci: The Mind of the Renaissance” by Alessandro Vezzosi, it is argued that Leonardo was one of the most successful and versatile artists and anatomists of the Italian renaissance based on his unique artwork and paintings (Vezzosi, p1454). Some of his groundbreaking research in medicine, metal-casting, natural science, architecture, and weaponry amongst other fields have been explored in the book. He was doing all these in the renaissance period in Italy from the 1470s till his death.

Visual analysis essays will appear early in your communications and art history degrees. Learning how to formally analyze art is an essential skill, whether you intend to pursue a career in art or communications.

Before diving into analysis, get a solid historical background on the painter and their life. Analyzing a painting isn’t mere entertainment; one must pay attention to intricate details which the painter might have hidden from plain sight.

We live in an environment saturated by digital media. By gaining the skill of visual analysis, you will not only heighten your appreciation of the arts but be able to thoroughly analyze the media messages you face in your daily life.

Also, don't forget to read summary of Lord of the Flies , and the article about Beowulf characters .

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How to Write a Summary of a Book with an Example

Explainer: the exciting new genre of the audio-visual film essay

ARC DECRA Research Fellow in Film and Screen Studies, Monash University

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Julia Vassilieva is receiving ARC funding for a project exploring cinema and the brain.

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During March, the renowned film scholar Adrian Martin and the film critic Cristina Álvarez López are conducting a series of public workshops and lectures on a new and exciting phenomenon of digital film culture: the audio-visual essay.

Barely ten years old, the audio-visual genre has generated thousands of international works. The growing number of forums for it, such as AUDIOVISUALCY , which contains more than 1,000 essays, demonstrate the scale and diversity of this new genre.

Audio-visual essayists intensively re-edit and recombine images and sounds from preexisting film, TV and digital works.

Coinciding with the rise of YouTube since 2005, the format was first embraced most enthusiastically by film fans, who could pay homage to their favourite works by capturing the thematic preoccupations of a director or the peculiarity of an actor’s performance.

Such analyses and homages might privilege particular scenes, gestures or looks – that kiss between Kim Novak and James Stewart in Hitchcock’s Vertigo (1958) or the cigarette that Humphrey Bogart lights, again and again, in To Have and To Have Not , The Maltese Falcon and The Big Sleep .

But the new creative and critical potential of the audio-visual essay was also gradually appreciated by film critics, cinema scholars and educators.

Many universities now offer courses on audio-visual practice. Several online film-studies journals, along with the educational blog Film Studies for Free , publish curated sections dedicated to audio-visual criticism.

Since critical and theoretical writing on cinema developed in the early 20th century, there have been three elements to the standard film studies “toolkit”: plot summary; vivid, descriptions of film style; and static, single-shot illustrations extracted from the film.

Single-frame illustration technique was perfected in the 1970s as a methodology of “frame by frame” analysis. It put together sequences of consecutive frames to “get closer” to nuances of facial expression, degrees of movement or interplay of light and shadow.

The emergence of VHS tapes and, later, of DVD allowed greater access to film material, as well as – in the case of DVD – information in the form of commentaries, featurettes, cuts and out-takes.

But it was only with the development of non-linear, video-editing programs (allowing you to dismantle the original footage, even separating image and sound) that it became possible not only to demonstrate and comment on certain features of the film, but to transform it.

Thus digital technology allowed scholars and critics to engage with screen material in a way that was impossible for the most of the 20th century – by directly working on the film’s moving image and sound.

This has led to the development of an innovative performative practice that generates new types of insight, particularly in relation to the way a film evokes feeling and emotion.

Some audio-visual essays relate to a film-maker’s themes or elements of style, such as visual motifs, recurrent settings, or a specificity of framing.

Adrian Martin and Cristina López’s essay Melville Variations astutely identifies a number of props used by the French director of the “noir” era Jean-Pierre Melville, including guns, phones, fedora hats, white gloves, and black and white tiles. It assembles them into a visual montage accompanied by a soundtrack of the signature tune of Le Samourai by François de Roubaux.

Other audio-visual essays are more theoretically oriented, often combining visual excerpts with textual commentaries. Catherine Grant’s work shows how feminist issues, queer issues or interest in the body and affect can be explored through video-graphic work.

Another audio-visual essayist, working under the name of KOGONADA, demonstrates how film history can be illuminated by illustrating the differences between Italian approaches to film-making after WWII and Hollywood cinema of the classical era.

A third group of audio-visual essays tries to do something entirely different – taking the original footage as a point of departure for a deeply reflective, poetic and creative transformation.

What happens if we trace how Ingmar Bergman treats the motif of female characters looking into mirrors in various films and superimpose on these excerpts a reading of Sylvia Plath’s poem The Mirror? KOGONADA’s Mirrors of Bergman is a profoundly moving work that pays homage simultaneously to both Bergman and Plath.

The proliferation of audio-visual essays has prompted various interest groups to pose some anxious questions.

How are we supposed to understand authorship under these new conditions? What is the relative impact of the original author versus the producer of the audio-visual essay?

What about respect for the original work and its integrity or cohesion, which essayists feel increasingly free to cut and splice, dismantle and recombine?

There are also complex questions about fair use or fair dealing for non-commercial, scholarly and critical purposes and contexts.

The audio-visual essay has also been met with confronting questions within the academy. Is it really a form of film criticism and theorising or is it just a testimony to the fan’s imaginative play – not much different from mash-ups or remixes?

There is still considerable resistance to the genre from a large group of scholars who believe that film analysis should remain what it has been for decades: writing that is grounded in methodologies and infused with theoretical concepts, and only invoking the film material as “evidence”.

Another camp believes that the most productive use of the audio-visual essay format for scholarly purposes is one that combines it with more traditional textual explanation, reflection or commentary.

While these debates will no doubt rage for a while yet, we can be sure of one thing: the rise of the audio-visual essay is now unstoppable.

Its rich and varied artefacts are testimony to the fertility of the encounter between passion for cinema, digital technologies and the tradition of film scholarship within screen studies.

Adrian Martin and Cristina Álvarez López will be giving a public lecture, Hitting the Target: Hou Hsiao-hsien Style , at Monash University on March 15, 5pm to 7pm.

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Visual Rhetoric: Overview

Welcome to the Purdue OWL

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Copyright ©1995-2018 by The Writing Lab & The OWL at Purdue and Purdue University. All rights reserved. This material may not be published, reproduced, broadcast, rewritten, or redistributed without permission. Use of this site constitutes acceptance of our terms and conditions of fair use.

This section of the OWL discusses the use of rhetorical theory and rhetoric as it relates to visuals and design. "Visual rhetoric" has been used to mean anything from the use of images as argument, to the arrangement of elements on a page for rhetorical effect, to the use of typography (fonts), and more.

While we cannot hope to cover these and many other topics in depth in this resource, it will be possible for us to look at some of the common visual rhetoric problems encountered by student writers: the text elements of a page (including font choices), the use of visuals (including photographs, illustrations, and charts and graphs), and the role of overall design in composing a page rhetorically.

Note: Much of the current use of "visual rhetoric" is directed at analyzing images and other visuals that already exist. This handout is meant to help you generate visual material.

What is visual rhetoric?

The term visual rhetoric falls under an umbrella term known as visual literacy, which is generally split into three categories: visual thinking, visual learning, visual rhetoric/communication (though clearly visual thinking and visual learning must occur in order to communicate visually). The following diagram illustrates these ideas. The graphic is modified from Sandra Moriarty's diagram in her essay, "A Conceptual Map of Visual Communication" and from "Teaching Visual Literacy and Document Design in First-Year Composition" (MA Thesis) by Allen Brizee.

Visual Literacy

Essentially, a beginning definition of visual rhetoric and its applications are as follows:

Use of images as argument
Arrangement of elements on a page
Use of typography (fonts, etc.)
Analysis of existing images and visuals

Other OWL resources that are related to visual rhetoric and that may help you understand these ideas are the following:

Visual Rhetoric Slide Presentation
Color Theory Slide Presentation
Using Fonts with Purpose
Design an Effective PowerPoint Presentation
HATS (Headings, Access, Typography, and Space) Slide Presentation: A Design Procedure for Routine Business Documents

For more information:

You may also download the pdf Works Cited and Works Referenced from "Teaching Visual Literacy and Document Design in First-Year Composition" in the Media box above. This pdf contains a number of resources on visual literacy, visual rhetoric, and document design and the uses of these concepts in composition and professional writing.

Campus Library Info.
ARC Homepage
Library Resources
Articles & Databases
Books & Ebooks

Baker College Research Guides

Research Guides
General Education

COM 1020: Composition and Critical Thinking II

Visual Analysis Essay
COM 1020 Reminders: The Writing Process, Research, etc.
Understanding Rhetoric and Rhetorical Analysis
Visual Rhetoric
What is an Annotated Bibliography?
Understanding Oral Communications
Narrated PowerPoint
Presentations (Tips and Strategies)
Letter Formatting
Abstract Formatting
Scholarly Articles
Critical Reading
Google Slides

Understanding Visual Analysis Essays

A written analysis allows writers to explore the discrete parts of some thing—in this case, several visual artifacts—to better understand the whole and how it communicates its message.

We should also consider how the image(s) appeal to ethos, pathos, and logos, and why. Consider, for example, how most advertisements rely on an appeal to pathos--or emotion--to persuade consumers to buy their project. Some ads will use humor to do so. Others will evoke patriotism to persuade consumers to purchase a product (suggesting buying a certain product will make them a good American).

This particular analysis will allow students to focus on visual materials relating to their career of interest to better understand how messages related to their field are composed and presented. This project will grant students the means to evaluate qualitative and quantitative arguments in the visual artifacts as well as interpret the claims made and supporting reasons. The project also will allow students to research discipline-specific and professional visual resources.

The audience for the analysis is an audience with comparable knowledge on the topic. Students should define and explain any terminology or jargon used that may be difficult for a general audience to understand.

Instructions:

Begin the essay by finding at least two examples of images relating to your intended future field of study (or a field that you are interested in learning more about). Use the Visual Analysis Planning Sheet to record your observations about the images. You will describe the images in great detail.

You will also need to research and find out who made the images, when, why and for what purpose. (This is called the rhetorical situation).

The essay should also explain what the purpose and intent of the images is and if there are any implicit messages (hidden messages) as well. An ad for Coca-Cola sells soda, but it also might imply something about family values. A public service announcement about hand-washing might also imply a sense of fear about pathogens and the spread of viruses from abroad. You should explore such obvious and hidden messages in your essay.

After describing all the key components, you’ll consider whether or not the images succeed at their goal or purpose and what these images suggest about how the field communicates its messages. See the Visual Analysis Planning Sheet for more help: https://docs.google.com/document/d/1HUa4_XZ84svJPJ2Ppe5TTIK20Yp7bd-h/edit

Suggested Organization of Visual Analysis Essay

I. Introduction (1 paragraph) - should contain a hook (attention-grabber), set the context for the essay, and contain your thesis statement (described below).

a. Thesis statement : State what two images are being analyzed and what your overall claim is about them. The thesis should make a claim about the images such as whether they are effective or ineffective at communicating their message.

II. Explain the Rhetorical Situation of both images: (2 paragraphs) Begin by discussing what is being advertised or displayed, who made it (company, artist, writer, etc.), who is the target audience, where and when the image was published and shared, and where the image was made (country). Provide these details for both images being discussed and analyzed.

III. Description of both images (4-8 paragraphs). Discuss each image in full detail, providing the following details about both:

a. Describe what appears in the image. Be as detailed as possible.

b. Discuss the primary color choice used and what mood these colors create.

c. Explain the overall layout and organization of each image.

d. Discuss the use of wording in the visual image. What font is used, what color, and size is the font.

e. Explain what the message in the visual actually says and what this message means/indicates/asks of viewers and readers.

F. Discuss any other relevant information (from the planning worksheet or anything you think is noteworthy.

IV. Discussion and Evaluation (2-4 paragraphs) - Synthesizing your findings,and analyze what you think the smaller details accomplish.

Discuss if the images appeal to ethos, pathos, or logos and provide evidence to back up your claim.
Discuss what sociological, political, economic or cultural attitudes are indirectly reflected in the images. Back up your claims with evidence. An advertisement may be about a pair of blue jeans but it might, indirectly, reflect such matters as sexism, alienation, stereotyped thinking, conformism, generational conflict, loneliness, elitism, and so on.
Assert what claims are being made by the images. Consider the reasons which support that claim: reasons about the nature of the visual's product or service, reasons about those responsible for that product or service, and reasons which appeal to the audience's values, beliefs, or desires.

V. Conclusion (1 paragraph) - should contain both a recap of your response, as well as a closing statement in regards to your overall response to the chosen essay. Include a conclusion that reviews the messages the images make and offer a conclusion that combines the results of your findings and why they matter.

Drafting/Research Strategies:

To write a visual analysis, you must look closely at a visual object—and translate your visual observations into written text. However, a visual analysis does not simply record your observations. It also makes a claim about the images. You will describe the images in detail and then offer an analysis of what the images communicate at the surface level. You will also highlight any implicit messages that the images communicate. (Use Visual Analysis Planning Sheet). Students should begin the project by taking detailed notes about the images. Review every component of each image. Be precise. Consider the composition, colors, textures, size, space, and other visual and material attributes of the images. Go beyond your first impressions. This should take some time—allow your eye to absorb the image. Making a sketch of the work can help you understand its visual logic.

Good to Know

Below are some helpful resources to aid in creating your Visual Analysis Essay.

Visual Analysis essay sample
Photos and Illustrations
Visual Elements: Play, Use, and Design
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Visual Analysis Essay

Visual Analysis Essay - A Writing Guide with Format & Sample

14 min read

What is a Visual Analysis Essay

A visual analysis essay basically requires you to provide a detailed description of a specific visual work of art. It is a type of analytical essay that deals with imagery and visual art instead of texts.

The subject of a visual analysis essay could be an image, painting, photograph, or any visual medium.

In this type of essay, you need to describe the artwork and analyze its elements in detail. That is, how different elements and features fit together to make the whole work stand out. In this sense, you need to use a mixture of descriptive writing and analytical language.

To write a good visual analysis essay, you need to know the basic visual elements and principles of design. Let’s learn about these concepts first before diving into the writing steps.

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Visual Elements for a Visual Analysis Essay

Writing a visual analysis essay involves analyzing the visual elements of a piece of art. These elements form the basis of the features and characteristics of an image.

Below you can find the common visual elements of a visual analysis essay.

Principles of Design in a Visual Analysis Essay

In addition to visual elements, you must also consider the principles of design for writing a great visual analysis essay. These principles help you identify and explain the characteristics of the image.

How to Write a Visual Analysis Essay - 7 Simple Steps

Now that you have an idea about visual elements and principles, you are now ready to proceed.

Here are the steps that you need to follow for writing a visual analysis essay. Let’s discuss them in detail.

Step 1 - Gather General Information About the Artwork

Once you have a specific artwork or image, here is how to start a visual analysis essay. You need to ask some basic questions about the work and jot down your ideas.

This pre-writing step is for brainstorming ideas. Ask these questions to begin:

Who and what does the artwork represent?
Who is the author of the piece?
Who did the artist create the work for? Who is the intended audience?
When and where was the work created? What is its historical context?
Where was this work displayed for the first time?
Identify which medium, materials, and techniques were used to create the image?

Step 2 - Note Down the Characteristics of the Artwork

The next thing that you need to do is identify what the image depicts. Moreover, you need to identify and describe the visual art elements and design principles used in the work.

Here’s what you need to note:

The subject matter and its representation.
Colors, shapes, and lines used in the composition.
The balance, proportion, and harmony within the artwork.
Any symbolism or metaphors present.

By pointing out such characteristics, you set the stage for a nuanced analysis in your essay.

Step 3 - Visual Analysis Essay Outline

Once you have gathered your main points by carefully studying the image, you should now organize them in an outline.

Here is how you make an outline for your visual analysis essay:

Step 4- Write the Introduction

This is the first paragraph of a visual analysis essay in which you need to provide some background information on the topic. After grabbing the readers’ attention with an interesting fact, briefly provide information on the following points.

Talk briefly about the painting and its artist or creator.
Provide a brief description of the painting and give historical context
Add an interesting fact about the artist or the painting.

The introduction should end with a thesis statement. The visual analysis essay thesis states the analysis points on the artwork that you aim to discuss in your essay.

Step 5 - Provide Detailed Description, Analysis, and Interpretation

In the body section, you need to explore the artwork in detail. In the first body paragraph, simply describe the features and characteristics of the work. For instance, talk about the technique being used, shape, color, and other aspects to support your thesis.

In the next paragraphs, you can go into the analysis and interpretation of these elements and the work as a whole. Present all the details logically and discuss the relationship between the objects. Talk about the meaning, significance, and impact of the work.

Step 6 - Writing a Conclusion

Once you have completed the body section, move to the conclusion paragraph. This is the last paragraph of the essay that should be strong and well-written to create a sense of closure.

Here’s how you can do it

Revisit the main insights gained through the analysis, summarizing the key visual elements and principles discussed.
Emphasize the significance of cultural or historical context in interpreting the visual narrative.
Tie together the threads of your analysis to reinforce your thesis or main argument.
End with a memorable statement and encourage readers to carry the lessons learned from the analysis into their own encounters with art.

Step 7 - Edit & Revise Your Essay

Here’s how to end your visual analysis essay: edit and revise your first draft until it becomes the perfect version. Consider these steps for an excellent revision:

Review for Clarity: Ensure your ideas flow logically. Clarify any ambiguous or unclear statements to enhance the overall readability of your essay.
Trim Unnecessary Details: Trim excess information that doesn't directly contribute to your main points. Keep your analysis focused and concise.
Check Consistency: Verify that your writing style remains consistent throughout the essay. Maintain a balance between formal language and engaging expression.
Fine-Tune Transitions: Ensure smooth transitions between different sections of your essay. Transitions help guide your reader through the analysis, making the journey more enjoyable and comprehensible.
Proofread for Errors: Carefully proofread your essay for grammar, spelling, and punctuation errors. A polished essay enhances your credibility and the overall professionalism of your work.

With these basic steps, you can craft an amazing visual analysis essay. Read on for some useful tips for analyzing different kinds of visual subjects.

Tips on How to Analyze a Photograph

Painting and photograph analysis are very similar. There are three ways in which photo visual analysis is conducted: description, reflection, and formal analysis.

Although the historical study may be used, it is not necessary.

Description - It implies examining the picture carefully and considering all of the details. The description should be neutral, focusing on simple facts without expressing a personal viewpoint.
Reflection - For the next stage, consider the emotions that the picture stirs in you. Every viewer will have a distinct viewpoint and feelings about the piece. Knowing some historical background might be useful when formulating an educated response.
Formal analysis - Consider the visual components and concepts. How are they shown in the photo?
Historical analysis - For a contextual analysis, keep an eye on the photo's surroundings. Make sure you comprehend the surrounding environment in which the photograph was taken. What era was this image shot during?

Tips on How to Analyze a Sculpture

A sculpture, unlike a painting or photograph, requires a different approach to visual analysis. It still depends on visible components and principles, however it does so in a slightly different way.

When you're writing about sculptures, keep the following in mind:

Medium, size, and technique - What kind of material is it? Is it carved in a negative or positive method?
Color and lightning - Describe the hue of the sculpture, whether it is painted. Was the sculptor concerned with the illumination when creating the work?
Human body and scale - Consider how a human body is portrayed in the piece. Also, assess the sculpture's size compared to that of the viewer.
Function - What was the sculpture's main aim? You could speak about whether it represented a religious conviction or honored someone, for example.
Composition - Examine the placement of the piece and determine whether there is a focal point.

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Visual Analysis Essay on Advertisement

In advertisements, visuals are used to pique interest or persuade the public that what is being advertised is needed. The goal of a visual argument is to generate attention and intrigue. Images are utilized in advertisements to transmit information and interact with the audience.

When conducting a visual analysis of an ad, keep the following in mind:

Textual Elements
Illustrations
Composition

This all has an impact on how people perceive information and how they react to it.

When you analyze the visuals of an ad, you're performing a rhetorical analysis. The study of images and extracting information from them is known as visual rhetoric. It aids in the comprehension of typography, imagery, and the structure of elements on the page.

How to Write a Visual Analysis Paper on an Advertisement

Visual components in advertising are important. It aids in the persuasion of the audience.

Always keep the rhetorical situation in mind while analyzing visual arguments. The following are some key elements to consider:

Audience - Who is the advertisement meant to attract?
Purpose - What message does the photo try to get across to the audience?
Design - What kind of visualizations are included? Are the visuals clear and easy to follow? Are there any patterns or repetitions in the design?
Strategies - Is there any humor, celebrities, or cultural allusions in the graphic's message?
Medium - Is the photograph surrounded by text? Is there any text within the picture? How does it interact with the picture to produce an intended effect if there is any?
Context - What are the characters in an ad? Where are they positioned?
Subtext - Consider the meaning of the picture's words. What are they trying to say?

Visual Rhetorical Analysis Essay Examples

Here are some visual analysis essay samples that you can read to understand this type of essay better.

Art history Visual Analysis Essay Example

Political Cartoon Visual Analysis Essay

Rhetorical and Visual Analysis Essay Sample

Mona Lisa Visual Analysis Essay

Visual Analysis Essay Topics

Here are some top visual analysis essay topics that you can choose from and begin the writing process.

Make a review of your favorite Hollywood production and discuss the visual arts involved.
Write about the use of color and action in TV commercials.
Discuss how the brand name is displayed in digital media campaigns.
Discuss different types of visual appeals used in web ads.
What is the special about Cleo Award-winning ads?
The Use of Light and Shadow in Caravaggio's "The Calling of Saint Matthew"
The Symbolism of Colors in Vincent van Gogh's "Starry Night"
What is the importance of art and culture in our life?
How has art changed over the last 50 years?
The use of colors in marketing and advertising.

To conclude,

From gathering information about the artwork to crafting a compelling analysis, we've navigated the essential steps you need for a visual analysis essay. Moreover, with the specific tips and examples, you have everything you need to get started.

So dive into the writing process with confidence and return to this blog whenever you need help on any step!

However, if you have gone through the whole article and are still unsure how to start your essay, we can help you.

Our professional essay writers at MyPerfectWords.com can help you with your visual analysis essay assignment. Contact us with your order details, and we will get it done for you.

We provide essay writing service for students that you can trust for better grades. Place your order now and get the best visual analysis essay writing help.

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What is Visual Literacy?

The basic definition of visual literacy is the ability to read, write and create visual images. It is a concept that relates to art and design but it also has much wider applications. Visual literacy is about language, communication and interaction. Visual media is a linguistic tool with which we communicate, exchange ideas and navigate our complex world.

The term “visual literacy” was defined in 1969 by John Debes, the founder of the International Visual Literacy Association, as:

“Visual Literacy refers to a group of vision-competencies a human being can develop by seeing and at the same time having and integrating other sensory experiences. The development of these competencies is fundamental to normal human learning. When developed, they enable a visually literate person to discriminate and interpret the visible actions, objects, symbols, natural or man-made, that he encounters in his environment. Through the creative use of these competencies, he is able to communicate with others. Through the appreciative use of these competencies, he is able to comprehend and enjoy the masterworks of visual communication.” – John Debes, 1969

Since this definition by Debes, researchers and practitioners have re-defined ever more complex definitions that reflect the breadth of its applications. The term itself takes on different meanings in different contexts and you will therefore encounter new ideas in education, science, graphic design, art, technology, philosophy and so on.

Visual literacy is, by nature, an organic concept that requires us to continually define and re-define its meaning as our world changes. Digital technology has greatly impacted our understanding of visual literacy as we now see children growing up with tablets and computers and what appears to be highly developed visual literacy instincts. But are they instincts, or are they picking up this new ‘language’ as a result of their interactions with digital technologies? These, and many more, are the questions that we ask and explore on this website. We welcome you to put forth your own definition of visual literacy so that our collective knowledge can continue to inform progress in this important field.

Kristen Harrison, Founding Editor

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NPR defends its journalism after senior editor says it has lost the public's trust

David Folkenflik

NPR is defending its journalism and integrity after a senior editor wrote an essay accusing it of losing the public's trust. Saul Loeb/AFP via Getty Images hide caption

NPR is defending its journalism and integrity after a senior editor wrote an essay accusing it of losing the public's trust.

NPR's top news executive defended its journalism and its commitment to reflecting a diverse array of views on Tuesday after a senior NPR editor wrote a broad critique of how the network has covered some of the most important stories of the age.

"An open-minded spirit no longer exists within NPR, and now, predictably, we don't have an audience that reflects America," writes Uri Berliner.

A strategic emphasis on diversity and inclusion on the basis of race, ethnicity and sexual orientation, promoted by NPR's former CEO, John Lansing, has fed "the absence of viewpoint diversity," Berliner writes.

NPR's chief news executive, Edith Chapin, wrote in a memo to staff Tuesday afternoon that she and the news leadership team strongly reject Berliner's assessment.

"We're proud to stand behind the exceptional work that our desks and shows do to cover a wide range of challenging stories," she wrote. "We believe that inclusion — among our staff, with our sourcing, and in our overall coverage — is critical to telling the nuanced stories of this country and our world."

NPR names tech executive Katherine Maher to lead in turbulent era

She added, "None of our work is above scrutiny or critique. We must have vigorous discussions in the newsroom about how we serve the public as a whole."

A spokesperson for NPR said Chapin, who also serves as the network's chief content officer, would have no further comment.

Praised by NPR's critics

Berliner is a senior editor on NPR's Business Desk. (Disclosure: I, too, am part of the Business Desk, and Berliner has edited many of my past stories. He did not see any version of this article or participate in its preparation before it was posted publicly.)

Berliner's essay , titled "I've Been at NPR for 25 years. Here's How We Lost America's Trust," was published by The Free Press, a website that has welcomed journalists who have concluded that mainstream news outlets have become reflexively liberal.

Berliner writes that as a Subaru-driving, Sarah Lawrence College graduate who "was raised by a lesbian peace activist mother ," he fits the mold of a loyal NPR fan.

Yet Berliner says NPR's news coverage has fallen short on some of the most controversial stories of recent years, from the question of whether former President Donald Trump colluded with Russia in the 2016 election, to the origins of the virus that causes COVID-19, to the significance and provenance of emails leaked from a laptop owned by Hunter Biden weeks before the 2020 election. In addition, he blasted NPR's coverage of the Israel-Hamas conflict.

On each of these stories, Berliner asserts, NPR has suffered from groupthink due to too little diversity of viewpoints in the newsroom.

The essay ricocheted Tuesday around conservative media , with some labeling Berliner a whistleblower . Others picked it up on social media, including Elon Musk, who has lambasted NPR for leaving his social media site, X. (Musk emailed another NPR reporter a link to Berliner's article with a gibe that the reporter was a "quisling" — a World War II reference to someone who collaborates with the enemy.)

When asked for further comment late Tuesday, Berliner declined, saying the essay spoke for itself.

The arguments he raises — and counters — have percolated across U.S. newsrooms in recent years. The #MeToo sexual harassment scandals of 2016 and 2017 forced newsrooms to listen to and heed more junior colleagues. The social justice movement prompted by the killing of George Floyd in 2020 inspired a reckoning in many places. Newsroom leaders often appeared to stand on shaky ground.

Leaders at many newsrooms, including top editors at The New York Times and the Los Angeles Times , lost their jobs. Legendary Washington Post Executive Editor Martin Baron wrote in his memoir that he feared his bonds with the staff were "frayed beyond repair," especially over the degree of self-expression his journalists expected to exert on social media, before he decided to step down in early 2021.

Since then, Baron and others — including leaders of some of these newsrooms — have suggested that the pendulum has swung too far.

Author Interviews

Legendary editor marty baron describes his 'collision of power' with trump and bezos.

New York Times publisher A.G. Sulzberger warned last year against journalists embracing a stance of what he calls "one-side-ism": "where journalists are demonstrating that they're on the side of the righteous."

"I really think that that can create blind spots and echo chambers," he said.

Internal arguments at The Times over the strength of its reporting on accusations that Hamas engaged in sexual assaults as part of a strategy for its Oct. 7 attack on Israel erupted publicly . The paper conducted an investigation to determine the source of a leak over a planned episode of the paper's podcast The Daily on the subject, which months later has not been released. The newsroom guild accused the paper of "targeted interrogation" of journalists of Middle Eastern descent.

Heated pushback in NPR's newsroom

Given Berliner's account of private conversations, several NPR journalists question whether they can now trust him with unguarded assessments about stories in real time. Others express frustration that he had not sought out comment in advance of publication. Berliner acknowledged to me that for this story, he did not seek NPR's approval to publish the piece, nor did he give the network advance notice.

Some of Berliner's NPR colleagues are responding heatedly. Fernando Alfonso, a senior supervising editor for digital news, wrote that he wholeheartedly rejected Berliner's critique of the coverage of the Israel-Hamas conflict, for which NPR's journalists, like their peers, periodically put themselves at risk.

Alfonso also took issue with Berliner's concern over the focus on diversity at NPR.

"As a person of color who has often worked in newsrooms with little to no people who look like me, the efforts NPR has made to diversify its workforce and its sources are unique and appropriate given the news industry's long-standing lack of diversity," Alfonso says. "These efforts should be celebrated and not denigrated as Uri has done."

After this story was first published, Berliner contested Alfonso's characterization, saying his criticism of NPR is about the lack of diversity of viewpoints, not its diversity itself.

"I never criticized NPR's priority of achieving a more diverse workforce in terms of race, ethnicity and sexual orientation. I have not 'denigrated' NPR's newsroom diversity goals," Berliner said. "That's wrong."

Questions of diversity

Under former CEO John Lansing, NPR made increasing diversity, both of its staff and its audience, its "North Star" mission. Berliner says in the essay that NPR failed to consider broader diversity of viewpoint, noting, "In D.C., where NPR is headquartered and many of us live, I found 87 registered Democrats working in editorial positions and zero Republicans."

Berliner cited audience estimates that suggested a concurrent falloff in listening by Republicans. (The number of people listening to NPR broadcasts and terrestrial radio broadly has declined since the start of the pandemic.)

Former NPR vice president for news and ombudsman Jeffrey Dvorkin tweeted , "I know Uri. He's not wrong."

Others questioned Berliner's logic. "This probably gets causality somewhat backward," tweeted Semafor Washington editor Jordan Weissmann . "I'd guess that a lot of NPR listeners who voted for [Mitt] Romney have changed how they identify politically."

Similarly, Nieman Lab founder Joshua Benton suggested the rise of Trump alienated many NPR-appreciating Republicans from the GOP.

In recent years, NPR has greatly enhanced the percentage of people of color in its workforce and its executive ranks. Four out of 10 staffers are people of color; nearly half of NPR's leadership team identifies as Black, Asian or Latino.

"The philosophy is: Do you want to serve all of America and make sure it sounds like all of America, or not?" Lansing, who stepped down last month, says in response to Berliner's piece. "I'd welcome the argument against that."

"On radio, we were really lagging in our representation of an audience that makes us look like what America looks like today," Lansing says. The U.S. looks and sounds a lot different than it did in 1971, when NPR's first show was broadcast, Lansing says.

A network spokesperson says new NPR CEO Katherine Maher supports Chapin and her response to Berliner's critique.

The spokesperson says that Maher "believes that it's a healthy thing for a public service newsroom to engage in rigorous consideration of the needs of our audiences, including where we serve our mission well and where we can serve it better."

Disclosure: This story was reported and written by NPR Media Correspondent David Folkenflik and edited by Deputy Business Editor Emily Kopp and Managing Editor Gerry Holmes. Under NPR's protocol for reporting on itself, no NPR corporate official or news executive reviewed this story before it was posted publicly.

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How Pew Research Center will report on generations moving forward

Journalists, researchers and the public often look at society through the lens of generation, using terms like Millennial or Gen Z to describe groups of similarly aged people. This approach can help readers see themselves in the data and assess where we are and where we’re headed as a country.

Pew Research Center has been at the forefront of generational research over the years, telling the story of Millennials as they came of age politically and as they moved more firmly into adult life . In recent years, we’ve also been eager to learn about Gen Z as the leading edge of this generation moves into adulthood.

But generational research has become a crowded arena. The field has been flooded with content that’s often sold as research but is more like clickbait or marketing mythology. There’s also been a growing chorus of criticism about generational research and generational labels in particular.

Recently, as we were preparing to embark on a major research project related to Gen Z, we decided to take a step back and consider how we can study generations in a way that aligns with our values of accuracy, rigor and providing a foundation of facts that enriches the public dialogue.

A typical generation spans 15 to 18 years. As many critics of generational research point out, there is great diversity of thought, experience and behavior within generations.

We set out on a yearlong process of assessing the landscape of generational research. We spoke with experts from outside Pew Research Center, including those who have been publicly critical of our generational analysis, to get their take on the pros and cons of this type of work. We invested in methodological testing to determine whether we could compare findings from our earlier telephone surveys to the online ones we’re conducting now. And we experimented with higher-level statistical analyses that would allow us to isolate the effect of generation.

What emerged from this process was a set of clear guidelines that will help frame our approach going forward. Many of these are principles we’ve always adhered to , but others will require us to change the way we’ve been doing things in recent years.

Here’s a short overview of how we’ll approach generational research in the future:

We’ll only do generational analysis when we have historical data that allows us to compare generations at similar stages of life. When comparing generations, it’s crucial to control for age. In other words, researchers need to look at each generation or age cohort at a similar point in the life cycle. (“Age cohort” is a fancy way of referring to a group of people who were born around the same time.)

When doing this kind of research, the question isn’t whether young adults today are different from middle-aged or older adults today. The question is whether young adults today are different from young adults at some specific point in the past.

To answer this question, it’s necessary to have data that’s been collected over a considerable amount of time – think decades. Standard surveys don’t allow for this type of analysis. We can look at differences across age groups, but we can’t compare age groups over time.

Another complication is that the surveys we conducted 20 or 30 years ago aren’t usually comparable enough to the surveys we’re doing today. Our earlier surveys were done over the phone, and we’ve since transitioned to our nationally representative online survey panel , the American Trends Panel . Our internal testing showed that on many topics, respondents answer questions differently depending on the way they’re being interviewed. So we can’t use most of our surveys from the late 1980s and early 2000s to compare Gen Z with Millennials and Gen Xers at a similar stage of life.

This means that most generational analysis we do will use datasets that have employed similar methodologies over a long period of time, such as surveys from the U.S. Census Bureau. A good example is our 2020 report on Millennial families , which used census data going back to the late 1960s. The report showed that Millennials are marrying and forming families at a much different pace than the generations that came before them.

Even when we have historical data, we will attempt to control for other factors beyond age in making generational comparisons. If we accept that there are real differences across generations, we’re basically saying that people who were born around the same time share certain attitudes or beliefs – and that their views have been influenced by external forces that uniquely shaped them during their formative years. Those forces may have been social changes, economic circumstances, technological advances or political movements.

When we see that younger adults have different views than their older counterparts, it may be driven by their demographic traits rather than the fact that they belong to a particular generation.

The tricky part is isolating those forces from events or circumstances that have affected all age groups, not just one generation. These are often called “period effects.” An example of a period effect is the Watergate scandal, which drove down trust in government among all age groups. Differences in trust across age groups in the wake of Watergate shouldn’t be attributed to the outsize impact that event had on one age group or another, because the change occurred across the board.

Changing demographics also may play a role in patterns that might at first seem like generational differences. We know that the United States has become more racially and ethnically diverse in recent decades, and that race and ethnicity are linked with certain key social and political views. When we see that younger adults have different views than their older counterparts, it may be driven by their demographic traits rather than the fact that they belong to a particular generation.

Controlling for these factors can involve complicated statistical analysis that helps determine whether the differences we see across age groups are indeed due to generation or not. This additional step adds rigor to the process. Unfortunately, it’s often absent from current discussions about Gen Z, Millennials and other generations.

When we can’t do generational analysis, we still see value in looking at differences by age and will do so where it makes sense. Age is one of the most common predictors of differences in attitudes and behaviors. And even if age gaps aren’t rooted in generational differences, they can still be illuminating. They help us understand how people across the age spectrum are responding to key trends, technological breakthroughs and historical events.

Each stage of life comes with a unique set of experiences. Young adults are often at the leading edge of changing attitudes on emerging social trends. Take views on same-sex marriage , for example, or attitudes about gender identity .

Many middle-aged adults, in turn, face the challenge of raising children while also providing care and support to their aging parents. And older adults have their own obstacles and opportunities. All of these stories – rooted in the life cycle, not in generations – are important and compelling, and we can tell them by analyzing our surveys at any given point in time.

When we do have the data to study groups of similarly aged people over time, we won’t always default to using the standard generational definitions and labels. While generational labels are simple and catchy, there are other ways to analyze age cohorts. For example, some observers have suggested grouping people by the decade in which they were born. This would create narrower cohorts in which the members may share more in common. People could also be grouped relative to their age during key historical events (such as the Great Recession or the COVID-19 pandemic) or technological innovations (like the invention of the iPhone).

By choosing not to use the standard generational labels when they’re not appropriate, we can avoid reinforcing harmful stereotypes or oversimplifying people’s complex lived experiences.

Existing generational definitions also may be too broad and arbitrary to capture differences that exist among narrower cohorts. A typical generation spans 15 to 18 years. As many critics of generational research point out, there is great diversity of thought, experience and behavior within generations. The key is to pick a lens that’s most appropriate for the research question that’s being studied. If we’re looking at political views and how they’ve shifted over time, for example, we might group people together according to the first presidential election in which they were eligible to vote.

With these considerations in mind, our audiences should not expect to see a lot of new research coming out of Pew Research Center that uses the generational lens. We’ll only talk about generations when it adds value, advances important national debates and highlights meaningful societal trends.

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Kim Parker is director of social trends research at Pew Research Center

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ABOUT PEW RESEARCH CENTER Pew Research Center is a nonpartisan fact tank that informs the public about the issues, attitudes and trends shaping the world. It conducts public opinion polling, demographic research, media content analysis and other empirical social science research. Pew Research Center does not take policy positions. It is a subsidiary of The Pew Charitable Trusts .

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Defining Visual Media
Visual media utilizes visual elements to convey meaning and engage audiences. It encompasses a wide range of formats including: Images like photographs, paintings, and illustrations that represent people, places, and objects through deliberate composition, color, and style choices. Video that uses moving images, audio, sequencing, and cinematic ...
How to Make a Visual Essay
Bigger Audience. Better yet, these sorts of essays can be shared online to make your argument to a larger audience. For example, not too many people will read your essay on homelessness, but many people might want to see your essay on the lives of homeless people in your town and the people who help the homeless in a soup kitchen (see "Depression Slideshow" or "My Photo Memory: Helping Others ...
What is a Video Essay? The Art of the Video Analysis Essay
What is a video essay? A video essay is a video that analyzes a specific topic, theme, person or thesis. Because video essays are a rather new form, they can be difficult to define, but recognizable nonetheless. To put it simply, they are essays in video form that aim to persuade, educate, or critique.
PDF Visual Media Examples
How are we supposed to "read" the text? The Tribes of Israel, medieval manuscript. The Calling of St. Matthew, Caravaggio, 1599. How does this painting tell the story through space? How does your eye travel around the canvas? «San Giorgio Maggiore by Twilight», Claude Monet, c.1910.
PDF VISUAL ESSAY GUIDELINES
WHAT IS A VISUAL ESSAY? A visual essay can be an entirely visual piece or it can combine image and writing. The length of these essays varies (usually between 6 and 12 pages). A visual essay can focus on any social or political aspect of visual communication, it can be a response to the visual work of others, a commentary on visual processes ...
PDF Keywords: Visual Essay; Visual Research; Visual Sociology, Scholarly
3.1 When contemplating the visual essay as a valid and viable format of social science research and reporting, some speciﬁc expectations of this disciplinary activity and product need to be further discussed. The visual essay as a social science format clearly needs to be grounded in social science, and from that basis try to impart insight ...
How to Write a Visual Essay: Advice and Tool
Visual essay definition. Visual essays are often used in fields such as art, design, and media studies, as they provide a way to explore visual culture and communicate complex ideas through imagery. However, visual essays can also be used in other disciplines, such as history or science, to present data or provide a visual narrative. ...
Media Critique
Media critiques dissect popular film, television, novels and other forms to explain to a broad audience how, in academic terms, these cultural artifacts can be reflective of social issues, evidence artistic accomplishment, offer critical voice to power and much more. Often taking the form of a visual essay, the media critique requires ...
17.1 "Reading" Images
Define the key concepts and elements of visual rhetoric. ... Choose digital and visual media according to the rhetorical situation and cultural context when writing for different audiences. ... a story, essay, or poem to take place over time—that is, the time readers need to follow the text, line by line, through a number of pages—image ...
Audio-Visual Film Essay
Audio-visual film essays, more commonly known as "film video essays," are film-criticism videos that edit and combine images and sounds from preexisting media with the goal of generating a deeper understanding of elements of film. Audio-visual film essays achieve this goal by using textual commentary and curated clips or stand-alone curated ...
Cinema and the Visual Arts
The relationship between cinema and the visual arts is a long and complex one, stretching back to cinema's earliest years. It is one of reciprocity, defined by various acts of exchange and mining for legitimation, subversion, and inspiration. It involves the creative efforts of practitioners from both domains and experimental gestures that ...
The visual essay and the place of artistic research in the ...
The visual essay is an invitation to other researchers in the arts to create their own kind of visual essays in order to address their own work of art or that of others: they can consider their ...
The Visual Medium Has a Message
Medium refers to what material a visual work is made of: the vehicle for an idea. This could refer to a general form, like sculpture or drawing, or a specific material, like marble or charcoal on paper. By understanding how a visual medium shapes interpretations of a work's subject matter, unique perspectives on the same subject begin to ...
Visual Analysis: How to Analyze a Painting and Write an Essay
A visual analysis essay is a type of essay written mostly by students majoring in Art History and Communications. The process of visual analysis can be applied to painting, visual art, journalism, photo-journalism, photography, film, and writing. Works in these mediums are often meant to be consumed for entertainment or informative purposes.
Explainer: the exciting new genre of the audio-visual film essay
A third group of audio-visual essays tries to do something entirely different - taking the original footage as a point of departure for a deeply reflective, poetic and creative transformation.
Visual Rhetoric: Overview
Visual Rhetoric: Overview. This section of the OWL discusses the use of rhetorical theory and rhetoric as it relates to visuals and design. "Visual rhetoric" has been used to mean anything from the use of images as argument, to the arrangement of elements on a page for rhetorical effect, to the use of typography (fonts), and more.
Visual Analysis Essay
Students should define and explain any terminology or jargon used that may be difficult for a general audience to understand. Instructions: Begin the essay by finding at least two examples of images relating to your intended future field of study (or a field that you are interested in learning more about).
Visual Analysis Essay: Outline, Topics, & Examples
Here are some top visual analysis essay topics that you can choose from and begin the writing process. Make a review of your favorite Hollywood production and discuss the visual arts involved. Write about the use of color and action in TV commercials. Discuss how the brand name is displayed in digital media campaigns.
Visual narrative
A visual narrative (also visual storytelling) is a story told primarily through the use of visual media. This can be images in the mind, digital, ... (photojournalism, the photo essay, the documentary film) to entertainment (art, movies, television, comic books, the graphic novel). In short, any kind of a story, told visually, is a visual ...
Visual communication
Visual communication is the use of visual elements to convey ideas and information which include (but are not limited to) signs, typography, drawing, graphic design, illustration, industrial design, advertising, animation, and electronic resources. [1] Visual communication has been proven to be unique when compared to other verbal or written ...
What is Visual Literacy?
The basic definition of visual literacy is the ability to read, write and create visual images. It is a concept that relates to art and design but it also has much wider applications. Visual literacy is about language, communication and interaction. Visual media is a linguistic tool with which we communicate, exchange ideas and navigate our ...
Analysis of a visual essay from The Pudding
While starting to explore interactivity within journalistic writing, I came across a visual essay on the physical traits that define men & women in literature. In the essay, the author makes…
Essay
The concept of an "essay" has been extended to other media beyond writing. ... almost by definition, the essay is a short piece". Furthermore, Huxley argues that "essays belong to a literary species whose extreme variability can be studied most effectively within a three-poled frame of reference". ... Visual arts. In the visual arts, an essay ...
NPR responds after editor says it has 'lost America's trust' : NPR
NPR is defending its journalism and integrity after a senior editor wrote an essay accusing it of losing the public's trust. ... who has lambasted NPR for leaving his social media site, X. ...
How Pew Research Center will report on generations moving forward
The tricky part is isolating those forces from events or circumstances that have affected all age groups, not just one generation. These are often called "period effects." An example of a period effect is the Watergate scandal, which drove down trust in government among all age groups.