Get American Icons: The Genesis of a National Visual Language PDF
By Benedikt Feldges
Regardless of the paintings that has been performed at the energy of visible verbal exchange as a rule, and in regards to the social impact of tv particularly, television’s dating with fact continues to be anything of a black field. Even this present day, the conference that the reveal features as a window on truth buildings a lot of the creation and reception of televisual narratives. yet as fact should develop into historical past at one element, what are we to do with such home windows at the previous? constructing and utilizing a hugely cutting edge method of the fashionable picture, American Icons sets out to reveal the historicity of icons, to reframe the historical past of the monitor and to dissect the visible center of a medium that continues to be so poorly understood. Dismantling the air of secrecy of it appears undying icons and previous spectacles with their seductive strength to draw the attention, this publication deals new methods of seeing the mechanisms at paintings in our sleek pictorial tradition.
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Extra resources for American Icons: The Genesis of a National Visual Language (Routledge Research in Cultural and Media Studies)
The only other historical personalities given as much visual and audio representation 30 American Icons Number of Repeated Instances of Icons and Emblems6 Icons Clips Icons Clips Richard Nixon 30 John Lennon 3 John F. Kennedy 27 Fidel Castro 3 Lyndon B. Johnson 19 Nikita Khrushchev 3 Jacqueline Kennedy 15 Marilyn Monroe 3 Dwight D. Eisenhower 12 Elvis Presley 2 Jimmy Carter 11 Shah of Persia 2 Farah Dibah 2 Martin Luther King, Jr. 9 Harry Truman 7 Lady Bird Johnson 7 Gerald Ford 5 Ronald Reagan 5 American flag 47 Robert Kennedy 5 Vietnam chopper 23 Queen Elizabeth 5 White House 12 Hubert Humphrey 4 Capitol building 7 Adlai Stevenson 4 American eagle 7 Muhammad Ali 3 UN building in New York City 6 Emblems Clips as the presidents are Martin Luther King, Jr.
If true, the transfer of genre not only extinguishes the pictures’ original significance, it also calls out the claim of objective pictorial content: Similar to the ABC speaker in the spotlight of instant history, this footage from the realm of microcommunication also provides a peculiar idiomatic context that projects its modern transmitter as interrelated with the very content of the historical signs. But despite such methodologically problematic self-quoting in visual terms, the pictures’ status as objective, historical records nevertheless seems unchallenged, at least in the eyes of their presenters.
For example, when commenting on reactions to the “fairytale” wedding of Farah Dibah, the voice-over claims to summarize a cultural facet of the 1950s, while the pictures could as well be speaking in symbolic language of the diplomatic political marriage between Iran and the West. Although secondary to the aim of entertaining spectators, the endeavor to create a historical narrative that meets textbook standards shines through the compilation at every turn. While the voice-over refrains from any sharp or even provocative statements, the selection of topics dutifully covers the conventional “big events” of the century.
American Icons: The Genesis of a National Visual Language (Routledge Research in Cultural and Media Studies) by Benedikt Feldges