3. Why are action comics so detailed?

After asking this question myself, I reflected on this idea of why comic strips like 'Batman' or 'Superman' are so detailed, and i think it is to give the action more realism. In giving more detail, it makes the reader feel like the action is more realistic as opposed to just a smilie face flying across the sky. It also takes the humor out of the comic if it is a more serious storyline.

Questions for week of Sept. 15th

1) on page 31, it states that 'cartooning isn't just a way of drawing, it's a ways of seeing', however, is this seeing what the action is or amplifying the simplification of it?

2) on page 33, is it that we see ourselves in those objects, or are they made to look like faces when they are designed?

3) if deemphasizing features in a character, why do comic books like 'Batman' or 'Superman' put more emphasis on details?

This stencil is one of the most famous pictures of Marilyn Monroe. Not only was she extremely popular in the fifties, but even today she is still spoken of as a Hollywood star. I chose to put the word ‘Nobody’ underneath the stencil because Monroe is one of the most recognizable figures in Hollywood. Therefore, putting the word ‘nobody’ emphasizes the irony of how Hollywood builds these actors and actresses up to be more than just people. Nowadays, the average citizen knows more about what is going on in celebrity’s lives as opposed to what is going on in politics. On the news, celebrities like Britney Spears and Paris Hilton make headline news stories while important world issues are pushed aside as rather side notes.

This photo of Monroe displays iconography through her reputation as a sex symbol in Hollywood, as well as her ill explained death. This is only a headshot of Monroe; however, the facial features portray the seductive behavior Monroe brought to Hollywood, through her modeling as well as her acting. She was put into roles that played up her reputation as a ‘dumb blonde’ actress and exploited her petite figure. This stencil exemplifies her Hollywood glamour after she had established herself as a Hollywood actress.

When people see a stencil of Marilyn Monroe like this one, it can bring up thoughts of conspiracy, due to the circumstances of her death. On paper, it is reported that it was an overdose and ‘probable suicide’, however, there was not a substantial amount of evidence to support this. This ghostly stencil of Monroe draws up questions of what was really the cause of her death, and whether rumors of mafia ties or the Kennedy’s were involved do hold some merit.

If I were to put this graffiti up anywhere, I would put it in a place like, outside of a movie theater, or a movie rental place, or even in Hollywood itself. Even before Marilyn Monroe’s Hollywood glamour in the 1950’s, Hollywood artists have been put on a pedestal up higher than people who do make a difference in society. They are given superstar status for entertaining the public and are paid handsomely for it. Now, I am not trying to belittle their work, but, the amount of glory and money these artists are given is a bit over the top. Putting a glamour shot like this that is well known to most people with these words underneath it will hopefully remind them that these are just regular people, and acting is their job, just as teaching is another profession, or working in a business is another. When I look at this image of Monroe, it symbolizes to me Hollywood glamour, and shows how someone can work from nothing to becoming one of the most memorable people in Hollywood history.

Answer for Reading for Sept. 9th

3.If you send two separate messages within a design, does it necessarily have to disturb visual unity?

Not necessarily. If the two messages correspond with each other, they can help compliment each other, or even get the message across more subtly. The two messages can create more unity. If they are different though, it also could disturb the visual unity, therefore making the messages stand out more and have a stronger effect on the audience.

Questions for Sept. 9th Readings

1) In the reading "Design Basics", it discusses the two aspects in art, content and form. Can a piece have just one of these two aspects? Or are they interdependent?

2) Also in the "Design Basics" reading, it addresses hwo the artist thinks about the audience. Does the artist then cater to what he thinks the audience thinks is art, or is he creating it for himself?

3) On page 127, Wysocki has the reader consider what "contains" the page/screen. What does he mean by 'contains'?

Answer to Week 1 Reading

2) Immediacy depends on hypermediacy, Bolter explains how filmmakers use live-action footage as well as computer compositing, is there any other examples of hypermediacy with other types of media?

Bolter uses the example of webcams on the internet as another form on hypermediacy. This shows an example of hypermediacy through a different media other than television. Another exxample of inernet hypermediacy he uses is the CNN website, where he states that 'arranging text, graphics, and video in multiple panes and windows and joining them with numerous hyperlinks; yet hte website borrows its sense of immediacy from the televised CNN newscasts'.

Questions for Readings from week of Sept. 1st

1) In the "Introduction" by Jay Bolter, he states that 'Media technologies are agents in our culture without falling into the traps of technological determinism'. What exactly is technological determinism, and how does it relate to media technologies, such as tv, the internet, etc.?

2) Immediacy depends on hypermediacy, Bolter explains how filmmakers use live-action footage as well as computer compositing, is there any other examples of hypermediacy with other types of media?

3) How, in 20th century art, can a viewer look at or see through the piece (for example Bolter uses the example of collages)?