Death Of The Photograph

In 1977, Raymond Williams coined the phrase:
‘a structure of feeling’

He defined it as 'the hypothesis of a mode of social formation, explicit and recognisable in specific kinds of art, which is distinguishable from other social and semantic formations by it's articulation of 
presence’

John Tagg said that:
“Photography has no identity. Its status as technology varies in the power relations that invest it”

Globalisation

In this lecture we discussed the extend of globalised media now.

The main features of globalisation are the growing level of connectedness between individuals, societies, nation states. Not only them but also the exploitation of Third world countries such as blood diamonds and sweat shops.

Our Daily Experience of Globalisation include:

-Social Media

-Brand Advertisement

-US TV Series

-Online Role Playing

-Global News Coverage

This all became important with the growth of communication from the one to one aspect which was text.

To look at where it all came about with Global Histories we can see certain structures that have lasted long enough such as the British Empire. They kept books and documents.

Contemporary Media Globalisation

It occurs when activities take place in a global arena.

Are deliberately organised on a global scale.

Involve some interdependency

Watershed moments

9/11

The Role Of The Media

Heightened Sensitivity

Embracing "Difference"

Global Village

This term was coined by media theorist Marshall McLuhan in the late 1960's

He described how the globe has been contracted into a village by electric technology and instantaneous movement of information

Other theorists adapted this term in a less optimistic way. Ingrid Volkmmer argues that;

World satellite news channels are enabling a 'global public sphere' to emerge

she and other theorists deploy the terms cosmopolitan.

Cultural Imperialism:

is defined as the cultural aspects of imperialism. Imperialism here is referring to the creation and maintenance of unequal relationships between civilisations favouring more powerful civilisation.

Schiller also said that traditional, local cultures are destroyed by bigger more powerful countries

Cultural Dependancy

Two key points can be made of this broadly Marxist case...

The dominance of US advertising

The wide dispersal of the advertising/branding imagery which funds such media.

Schillers position has been criticised because...

it was developed in the 1950's and the 1960's

Representation

Representation 

The concept of Representation embodies the theme that the media
construct meanings about the world – they represent it – and in doing
so help the audience to make more sense of it in particular ways.

Two more recent connections for Representation have been made: 
4. The increased possibilities for ‘self-representations’ in digital forms. 
5.  Recent cynicism about 'official' politics and how 'we' are represented in 
them. 


The term Hegemony is used to denote the predominance of one
social class over others

Hegemony 

The concept has it's origin in Marxist Theory, was conceptualized by
Antonio Gramsci;
According to this theory, Hegemony refers to the winning of popular
consent through everyday cultural life, including media
representations of the world, as well as other social institutions, such
as education and the family.

Ideology 

Concept of Ideology refers to
•  Sets of ideas which give some account of the social world;
•  Ideas that are usually partial (in both senses) and selective (as all
positions are);
•  The relationship of these ideas or values
 to the ways in which power is distributed
 socially.


The notion of Ideology entails widely held beliefs, which may often be
seen as 'common sense’, making widely acceptable certain forms of
social inequality.
Marx and other writers have adapted and developed this idea so that
all belief systems or world views are thought to be ideological.
What interests those who analyse media representations is whose
ideological perspective is privileged and how.



Myth 

Ideologies work through symbolic codes, which represent and explain
cultural phenomena.

Barthes labels this symbolic representation as mythic, not in the traditional sense of being false (as in
fairy tales), but in the sense of having the appearance of being ‘natural’.