Final Assignement_Visual Communication_MK020G Essay

Analysis

Visual Communication

?rebro University

Spring 2019

Assimakis Tseronis

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Inhaltsverzeichnis

1. Introduction ………………………….. ………………………….. ………………………….. ………………………….. … 2

2. Theoretical framework ………………………….. ………………………….. ………………………….. …………….. 2

2.1. Visual markers of modality ………………………….. ………………………….. ………………………….. ….. 2

2.1. Social actors and representation ………………………….. ………………………….. ……………………… 3

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3. Analysis ………………………….. ………………………….. ………………………….. ………………………….. ……… 4

3.1. Modality and colour ………………………….. ………………………….. ………………………….. …………….. 5

3.2. Social actors and representation ………………………….. ………………………….. ……………………… 5

4. Conclusion ………………………….. ………………………….. ………………………….. ………………………….. …. 6

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5. Reference list ………………………….. ………………………….. ………………………….. …………………………. 7

6. Appendix ………………………….. ………………………….. ………………………….. ………………………….. ……. 8

6.1. poster motif: domestic violence ………………………….. ………………………….. ………………………… 8

6.2. poster motif: violence to uphold family honour ………………………….. ………………………….. …. 9

6.3. poster motif: genital mutilation ………………………….. ………………………….. ……………………….. 10

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6.4. poster motif: abduction/trafficking in human beings ………………………….. …………………….. 11

6.5. poster motif: stoning ………………………….. ………………………….. ………………………….. ………….. 12

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1. Introduction

Violence against women and girls remains the most frequent human rights violation

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worldwide (Bundeszentrale f?r Politische Bildung, 2014). According to a study by the FRA

(European Union Agency for Fundamental Rights, 2014), at least one in three women

worldwide fall victim to physical and/or sexual violence in the course of their lives.

The WHO

identifies violence against women as one of the greatest health risks for women worldwide

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(as cited in Bundeszentrale f?r Politische Bildung, 2014) .

The non -profit women’s rights organization Terre des Femmes (French, translation:

Women’s Earth) has been working since 1981 for the protection of human rights of women

(Terre des femmes , n.

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d.) . Their campaign “”Violence against women is everyday life”” from

2017 consisted of TV spots and 5 different poster motifs which show different types of

violence.

For this analysis, the poster on domestic violence was chosen because of physical

violence by a trusted partner is the most common form of violence against women worldwide.

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In addition, this motif stands out from the campaign. The reasons for this are wor ked out in

the following analysis.

2. Theoretical framework

First, however, an overview is given of the various aspects based on which visual media

can be analysed and which appear meaningful for this concrete example.

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2.1. Visual markers of modality

“T he term ‘ modality’ comes from linguistics and refers to the truth value or credibility

of /…/ statements about the world” (Kress & Van Leeuwen, 2006, p.155). The concept of

modality is also important for visual communication.

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Kress and van Leeuwen (2006) state tha t there are eight modality markers to rank the

perceived realistic of visual media. The markers “are scales that run from high to low

modality, much like the scales from ‘certain’ to ‘uncertain’ with ‘probable’ in between”

(Machin, 2007, p.48).

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The first ‘scale’ ranks the degree of articulation of detail and “runs from maximum

detail to maximum abstraction” (Machin, 2007, p.48). It evaluates whether it would have

looked the same if we had seen the situation ourselves. Degrees of articulation of t he

background also looks at detail s, but the detailedness of the background. “Backgrounds

might be ranging from a blank space, via /…/ out -of-focus backgrounds, to maximally

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shaped” (Machin, 2007, p. 51). The marker articulation of depth assesses the depth of the

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image and ranges from a deep perspective to the absence of perspective (Machin, 2007,

p.52). The fourth marker – degrees of illumination – evaluates the closeness to reality

based on the naturalness of light and shadow. An image without shadows or with unnatural

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lighting conditions has a low modality (Machin, 2007, p.53).

The next four markers thematize the colours of pictures. Articulation of tone thereby

looks at “whether the colours in the image have a range of differences in tones /…/ or

whethe r we find only simple polarities of dark and bright” (Machin, 2007, p.54). The degree

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of colour modulation is “a scale running from fully modulated colour, with, for example, the

use of many different shades of red, to plain, unmodulated colour” (Krees and van Leeuwen,

2006, p.160). So , the scale rates if the picture shows natural colour variations (Machin, 2007,

p.54). “ How full and rich colours appear” (Machin, 2007, p.54) is rated with degrees of

colour saturation . It can variate from full -colour saturat ion to only using black and white

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(Krees & van Leeuwen, 2006, p.160). The last scale – colour differentiation – evaluates how

many colours are available (Machin, 2007, p. 56) .

2.1. Social actors and representation

In addition to the realistic, the type of representation of the persons in the picture is

meaningful. For example, persons, animals, etc. can be represented individualised or

collectivised . This choice “”is important for the connection of the viewer to the interests and

experiences of the participants”” (Machin, 220, p.118).

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Furthermore, it must be considered whether and according to which aspects the

persons have been categorised . “”These are resources for informing the observer which

types of participants a re involved”” (Machin , 2007, p.118 ) and relevant for whether the viewer

can identify with these persons. In this context, a distinction is made between biological or

cultural aspects. “Cultural categorisation is realised through standard attributes of ha irstyle ,

adornment etc. “(Machin, 2007, p.120). Biological categorisation is achieved by highlighting

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stereotypical features (Machin, 2007, p.121) .

Next, the actions of the persons in the picture are also significant. There are six

differen t processes to distinguish : material, behavioural, mental, verbal, relational and

existential . Material is when the person is “ doing something in the world that has a material

result” (Machin, 2007, p.128) like building a house. Behavioural is the counterp art – an “act

without material outcome”. Mental includes processes like “ thinking, evaluating, sensing”

(Machin, 2007, p.128 ) and if t he person in the picture speaks , it is a verb al process (Machin,

2007, p.124). Relational processes are “ where people are represented as being like, or

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different to, something else” (Machin, 2007, p.124). Existential processes are shown if

“people are represented simply in a state of ex isting, appearing ” (Machin, 2007, p.124).

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Besides the question “”How are p articipants represented””, the non -representation of

persons or objects also plays an effective role. This can be for example “”a way to hide the

responsibility for actions or to remove the role of some participants”” (Machin, 2007, p.121).

And what’s more, the relationships between the groups – the persons presented and

the interactive participants – are relevant for the analysis (Machin, 2007) . Special i mportance

is attached to the achieved interaction of the representation with the viewer. A direct gaze of

the persons depicted into the eyes of the observer acts as a demand of information or

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services , while an indirect gaze acts as an offer of service or information (Machin, 2007,

p.110) . The size of the frame depicts social distance and ranges from close -up , via medium

to long -shot. It can suggest intimacy or remoteness (Machin, 2007) . The perspective makes

the attitude towards the person depicted clea r. A distinction can be made between an

objective and a subjective perspective (Machin, 2007) .. The angle of the shot also has an

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impact on the relationship to the observer (Machin, 2007) . The horizontal variation from

frontal to side creates involvement and the vertical angle of high, eye level or low has an

influence on the balance of power . “If someone is shown at the same level /…/ equality is

implied” (Machin, 2007, p.115).

3. Analysis

At first sight, t he poster shows a gorgeous woman without clothes, but part of her face is

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hidden through a ‘crack ’ in the poster . The background is almost monochrome. Apart from

the woman, only the logo of a women’s rights organisation and a slogan are printed on the

poster. It is written there in German: Every fourth woman is a victim of violence. Imagine a

country where millions of women are regularly beaten, abused and raped. Welcome to

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Germany.

If one considers the slogan and the initiators of the posters, it becomes clear that the

rupture of the poster is supposed to represent bruises on the woman’s cheek. Th ere two

reasons for this type of visualization . First, it represent s a “”light”” version of showing injuries

and could have been selected to not dramatize the subject. Further, this type of design may

have been chosen to follow the journalistic -ethical principles of the German Press Code

which also contains journalistic principles for reporting accidents and disasters (Press

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Council, 2017). Accordi ngly, reporting finds its limits in respect for the suffering of victims and

the feelings of relatives. “”Those affected by the disaster must not be allowed to become

victims a second time through the depiction”” (Presserat, 2017, p. 27). This principle for the

protection of victims is also largely followed in campaigns by human rights organisations.

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3.1. Modality and colour

Let us now move on to a more detailed analysis. As explained before , there are 8

modality markers to anal yse the realistic of visual communication media such as posters. In

total, this picture has a medium modality.

The f oreground is shown very detailed . It creates a very realistic and natural

representation of the woman. In contrast to this, the background is blurred and monochrome.

It does not give the impression of a certain setting of the situation. In the interaction with it,

the picture also shows a low depth. It consists of two parts. The level of the woman, the

slogan and the logo and the monochrome background. All the points ad dressed so far help

to focus on the injured woman and the slogan.

The i llumination has a high modulation. O ne does not see a source of light, but the

light comes clearly from in front of the woman’s face and does look natural . The light is

direct ly shinin g at her like a spotlight and enables us to recognize her face expression better.

She shows a brave, strong view of the viewers’ eyes and a minimal smile .

The tone and the colour modulation are also high because all shades between very

dark (almost black) brown and white are present. It’s not in any part of the picture just a plain

colour . This supports the realism. Colour Saturation, on the other hand, has a low modality –

only shades of brown are shown.

Brown is often associated with warmth, earthy, natural, traditional, cosiness.

Presenters, however, are negative associations such as seclusion, dirt and sadness. In this

context, Brown has a ‘dirty ’ effect (e.g. webdesign journal , n.d. , Immoos, 2010 ). The theme of

violence against women and especially domestic violence is here the ‘dirty ’ theme that is

brought into focus.

3.2. Social actors and representation

Besides the modality markers, the decisions for the representation of the woman and

the resulting effects are significant.

If you look at the representation and th e actions in the pictures the women are

generally presented in the same way. They all take place in front of the same background

and the women are posing (cf. image 1 till 5) . That ’s an existential process. The pictures

depict the women in an individualised way and they are categorised by their sex, by

biological attributes. Not visible – and therefore absent – is the person who caused the

injur ies . One can only see th e consequence s of violence. Also absent are clothes. This

shows the women as vulnerable but also strong because they don’t hid e their wounds.

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Although at first sight, the pictures seem similar in terms of the representation and

actions of the women, diffe rences are noticeable when looking at the type of recording and

the resulting relationship to the viewer.

Just like the other pictures, the poster offers us information about violence against

women by the depiction of the woman , her injuries and the slogan and the picture is taken as

a medium -shot . This difference of this motif is the oblique and slightly low angle which puts

the woman in an elevated posit ion, slightly looking down on the viewer. It is a subjective

perspective because you can only see parts of her face and it puts the injuries in the focus to

show that the relevant aspect is not the gorgeous woman. This moti f is the only one showing

the wom an from this angle and with a minimal smile, so she looks militant . This angle

presents the woman not as a victim, but as an affected person who courageously shows

what happened to her in order to draw attention to the subject. This kind of presentation

ma kes it clear that those affected should not be ashamed or keep silent. At the same time,

the view slightly downwards, directly into the eyes of the observer, seems like a demand to

stand up and to act side by side with her against violence against women.

4. Conclusion

Emotional and successful campaigns – like this one – are important to show that,

despite the progress made, women are still at great risk of falling victim to violence. The

issue must be on the public agenda.

The wom en in the foreground, directly in the centre of the light source and the lack of

clothing with which affected women often conceal or cach? injuries, sends a clear message

that the subject should not be hushed up and that affected women do not have to be

ash amed. At the same time, the absence of clothes makes them vulnerable and creates the

feeling of wanting to protect them .

The choice of the monochrome background reinforces the statement that every woman

could everywhere become a victim of violence. This is also supported through the diversity of

the chosen models.

In my opinion, t he artistic depiction of the injuries as cracks in the poster is a successful

way of depicting them without tearing open possible traumas. At the same time, however, it

should be noted that this way of representation can also be perceived as ‘flaws ’ or

‘imperfection ’. This impression should certainly not be achieved by the campaign, but it is

important to keep this in mind when dealing with such a sensitive topic.

Overall the picture of domestic violence fulfils the purpose of the campaign most

satisfactorily. The slogan already refers directly to Germany and the widespread attitude ‘that

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only happens to others ’ or ‘elsewhere ’. Further, the angle of reception and th e facial

expression makes her appear strong and proud . She looks down on the viewer, seems

determined to change the present situation and to bring the subject out of the ‘taboo ’ zone.

At the same time, the slightly low angle creates a relationship with the viewer which, in

contrast to the other motifs, goes beyond offer ing information. It is a demand to act against

violence against women.

5. Reference list

Bundeszentrale f?r politische Bildung (2014). Gewalt gegen Frauen. Available at

-aktuell/196723/gewalt -gegen -frauen -25 -11 -2014

Immoos, F. (2010). Farben. Wahrnehmung Assoziation Psychoenergetik. Retrieved from

-ostwald -schule.de/wp -content/uploads/2010/04/bedeutung –

der -farben.pdf

Kress, G., & Van Leeuwen, T. (2006). Reading images: Th e grammar of visual design , 2 nd

edition. London: Routledge, chapters 4 & 5, pp. 114 -175.

Machin, D. (2007). Introduction to multimodal analysis : London: Bloomsbury.

Webdesign journal (n.D.) Psychologische Wirkung von Farben und Farbkombinationen

[Online]. Retrieved from -journal.de/psychologische -wirkung –

von -farben -farbkombinationen/

Presserat (2017). Publizistische Grunds?tze (Pressekodex). Richtlinien f?r die publizistische

Arbeit nach den Empfehlungen des Deutschen Presserates. Beschwerdeordnung .

Retrieved from

/Pressekodex2017_web.pdf

Terres des femmes (n.d.). ?ber uns. Retrieved from

ueberuns

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6. Appendix

6.1. poster motif: domestic violence

Translation:

Every fourth woman is a victim of violence.

Imagine a country where millions of women are regularly beaten, abused and raped.

Welcome to Germany.

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6.2. poster motif: Violence to uphold family honour

Translation:

In love. Engaged. Burned.

Violence against women is part of everyday life. Help us to change that.

10

6.3. poster motif: genital mutilation

Translation:

Every hour, over 300 girls are mutilated.

The idea of having their genitals cut off without anaesthesia is unbearable. Just like the pain

that accompanies them throughout their lives.

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6.4. poster motif: abduction/trafficking in human beings

Translation:

Every minute a woman is abducted.

The abduction victims not only lose their freedom but also their dignity: they are sold to men

or forced into prostitution.

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6.5. poster motif: stoning

Translation:

It usually is a woman.

Stonings are still part of everyday life. Help us to change that.