Sibe Vs Dubois

A single photo can tell thousands of stories about people that have been silenced in the past or those who are still silenced today. This is the case for the photograph titled “Oppression” by Luke Moore. In such a simple picture, the author is giving voice to the women who have been mistreated, killed, raped and oppressed. This treatment against women is not new and has been implemented all over the world. Moore uses line, character, and color to appropriately demonstrate the fight women have against oppression and the responsibility society has on this oppressive system.

In the W.E.B Dubois’s essay The Souls of Black Folk, Of Our Spiritual Strivings, he talks about many of his personal experiences of being an African American in the early 1900’s. Dubois develops 3 main central ideas that relate to his experiences. These central ideas are self-consciousness, double consciousness, and the ideal of human brother hood. In his essay he uses some textual evidence provided with some rhetoric and figurative language to prove his ideas.

(Young, 2009). From a post-colonial perspective, this practice is both harmful and hegemonic – systematically devaluing the cultures of minority groups and casting them as exotic or mysterious. While this is far from the original intent of “Into the Heart of Africa”, Anthropologist Enid Schildkrout argues that it is inevitable that it becomes perceived this way - with its ambiguity and reliance on irony and juxtaposition, built upon “unrealistic, and untested, expectations about the audience” (Schildkrout 1991: p. 16). Some scholars argue that despite the exhibition’s intentions, members of the general public do often trust museums as authoritative sources, and were thus shocked by exhibit’s the violent images and seemingly colonial presentation of African artifacts. (Burret 2004, p. 139). Others draw attention to the lack of involvement of the African Canadian community, arguing that this led to a detachment between the curators of the exhibition and the needs and perspective of both its audience and subject matter (Burret 2004, p. 141). Regardless of the true cause, it is clear that there are many lessons to be drawn from this experience – from the importance of community involvement to the value of a clear presentations of themes and curatorial

Before starting this project, I knew very little about photography, photographers, or exactly how much impact photographical images have had on our society. I have never taken a photography class, or researched too in depth about specific pictures or photographers. This project has allowed me to delve deeper into the world of photography in order to understand just how much influence pictures can have over society’s beliefs, emotions, and understandings’. I have have chosen two highly influential photographers, Diane Arbus and Dorothea Lange, who I have found to both resonate with me and perfectly capture human emotions in way that moves others.

At the time of the publication of W.E.B. Du Bois’ book, The Souls of Black Folk, differing opinions existed about the most effective method to combat racism in the United States. Some advocated for violent resistance and revenge on the Southern slaveholders who had held them in slavery. Others expressed their beliefs in the ability of nonviolent acts to create change, although there were differing opinions about the function and usage of these acts. Some believed that a slower change was necessary; others believed that equality for African Americans should be promoted and fought for until total equality, in social, political, and economic terms, was achieved. Arguments that promoted total equality and the retention of black identity are most

For this essay the works of Robert Draper, author of “Why Photos Matter,” and Fred Ritchen, author of “Photography Changes the Way News is Reported,” will be analyzed. Though both deal with the topic of photography, their take on the matter is very different. While Ritchen is a photographer who writes on “what professional photographers will be doing in the future,” Draper is a writer for the National Geographic writing on how the photographers of the magazine share “a hunger for the unknown.” Both writers, however, write on the topic of photographers having a deeper understanding of their subjects, Ritchen due to research and practice, and Draper because the photographers “sit [with] their subjects, just listening to them.” In both essays the need for a deeper understanding of the

W.E. Du Bois addresses race with the quote, “between me [Du Bois] and the other world there is ever an unasked question: unasked by some through feelings of delicacy; by others through the difficulty of rightly framing it,” (Levine 203). This quote emphasis how people think about race, because the question they want to ask is how does it feel to be the problem? In the time period that Du Bois is writing in, race is a problem. There is so much segregation and hurt that it is a social and moral issue. The books in class, like Harrison, has talked about race and power. Two significant cases in American history have shown that race is a problem. The first is Plessy v Ferguson caused segregation to win the case and then Brown v. Board of Education

The first thing I will write about is a person, Jacob Riis. A esteemed author of the book “How the other half Lives”, published in the 1890s. Riis was a pioneer in the time when photography was first starting to catch on. In Riis’s photos he took pictures of people who lived in the slums of the major cities and how they lived. He was termed a Muckraker by our late president Theodore Roosevelt, because journalists like him would, as he would say, rake through all the good things and bad on the ground and only report the bad of the world. But Riis was one of the men of his era

America, at present, is beginning to look more like itself every day. One of the main reminders of how things used to be is a gauge of social attitudes. Social attitudes are often the slowest and most difficult of mindsets to change. One such example concerns racism—such prejudice is itself the result of psychosocial conditioning that is exercised across multiple spheres. Racism represented a particularly insidious exercise of prejudice codified into law. The codification of this racism manifested in discrimination in housing, employment, and the suppression of voting rights; worse, however, was the acceptability of murdering black people, often without any basis or legal accountability. One such instance is captured on film in the photograph Lynching, by Lawrence Beitler in 1930. The photograph depicts the lynching of Thomas Shipp and Abram Smith, two black men from Marion, Indiana, who was accused of robbery, rape, and murder. The photograph is legendary and iconic. It not only inspired the famous poem, Strange Fruit, but stands also as a crowning achievement in the measures of photographic accountability. Even nearly a century after the photograph was taken, one question remains: how on Earth did society allow this moment to not only happen, but also be so celebrated by the participants that they were willing to be photographed? On that subject, this paper will argue that the most brilliant photographs do more than just capture a moment in time; they lay bare some of

“Images” that are dedicated to humanism, conceived by, and based on African Americans and their encounters.

Winogrand took photos of everything he saw; he always carried a camera or two, loaded and prepared to go. He sought after to make his photographs more interesting than no matter what he photographed. Contrasting many well-known photographers, he never knew what his photographs would be like he photographed in order to see what the things that interested him looked like as photographs. His photographs resemble snapshots; street scenes, parties, the zoo. A critical artistic difference between Winogrand's work and snapshots has been described this way, the snapshooter thought he knew what the subject was in advance, and for Winogrand, photography was the process of discovering it. If we recall tourist photographic practice, the difference becomes clear: tourists know in advance what photographs of the Kodak Hula Show will look like. In comparison, Winogrand fashioned photographs of subjects that no one had thought of photographing. Again and again his subjects were unconscious of his camera or indifferent to it. Winogrand was a foremost figure in post-war photography, yet his pictures often appear as if they are captured by chance. To him and other photographers in the 1950s, the previous pictures seemed planned, designed, visualized, understood in advance; they were little more than pictures, in actual fact less, because they claimed to be somewhat else the examination of real life. In this sense, the work of Garry Winogrand makes a motivating comparison to Ziller's

Photographs are re-collections of the past. This essay is about photography, memory, and history and addresses the relationship between photographic images and the need to remember; it is based on the notion that seeing is a prelude to historical knowledge and that understanding the past relies on the ability to imagine. At the same time, the role of thought and imagination in the production of society--as reflected in the earlier work of Louis Althusser (1970), Maurice Godelier (1984) and perhaps more significantly, Cornelis Castoriadis (1975), suggests yet another role for photography in the construction of a social and cultural reality. Photographs in capitalist societies contribute to the production of information and participate in the surveillance of the environment where their subjective and objective qualities are applied to the private uses of photographic images in the perpetuation of memory.

In “Ways of Seeing”, John Berger, an English art critic, argues that images are important for the present-day by saying, “No other kind of relic or text from the past can offer such direct testimony about the world which surrounded other people at other times. In this respect images are more precise and richer literature” (10). John Berger allowed others to see the true meaning behind certain art pieces in “Ways of Seeing”. Images and art show what people experienced in the past allowing others to see for themselves rather than be told how an event occurred. There are two images that represent the above claim, Arnold Eagle and David Robbins’ photo of a little boy in New York City, and Dorothea Lange’s image of a migratory family from Texas; both were taken during the Great Depression.

This chapter in Africans and Their History by Joseph Harris presents some of the roots of the stereotypes and myths about Africa in the past and for the most part are still held today. Harris discusses how the “greats” of history, geography, and literature starting a path of devaluation of Africans that writers after their time followed. Harris also denounced the language that these “greats” used to describe and talk about Africans. He asserts that this language inherently painted Africans as inferior and subhuman.

Photographs, drawings, cartoons and videos cover significant political matters. Photojournalists such as Lynsey Addario present critical political issues that affect the world today. In her book, It’s What I Do, she presents scenes surrounding the fall of prominent political leaders such as Muammar el-Qaddafi. The pictures on pages 4 and 5 of her book, for instance, show the struggles that the rebels went through in their quest to dethrone Qaddafi. She quotes Robert Capa, who once said, “ ‘ If your pictures aren’t good enough, you’re not close enough’ ” (Lynsey 7) which shows that photographs are significant in the world of journalism. A video such as “Shouting In The Dark” reveals the heinous acts done by the government of Bahrain towards its own citizens. In the video, we see the brutal force used by the government to silence the peaceful protesters. People were beaten, shot, imprisoned, and killed.