Talk:Ways of Seeing/Proposed revisions to Ways of Seeing article
Untitled
[edit]Ways of Seeing proposed revisions - these are proposed revisions for the page on "Ways of Seeing," which covers both the book and the four-part video series.
 | This article is currently the subject of an educational assignment. |
I've restored all (I hope) of the class edits that were reverted on December 5 2012. See the [main article edit history]. There is much repetition, as people had a 2nd go after the first was reverted, so I've grouped them as:
- - "GROUP !" First group of class edits, added below, to Hammersoft revert
- - GROUP 2, to Beyond My Ken revert
- - GROUP 3, to Gwickwire revert
- - GROUP 4
- - GROUP 5
Let me know any queries, Johnbod (talk) 13:52, 6 December 2012 (UTC)
Ways of Seeing
[edit]
| Author | John Berger |
|---|---|
| Cover artist | Rene Magritte |
| Language | English |
| Subject | Art, architecture, photography |
| Publisher | Penguin |
Publication date | 1972 |
| Publication place | U.K. |
| Pages | 166 |
| ISBN | 0-14-013515-4 |
| OCLC | 23135054 |
Ways of Seeing is a 1972 BBC four-part television series of 30-minute films created chiefly by writer John Berger and producer Mike Dibb. Berger's scripts were adapted into a book of the same name. The series and book criticize traditional Western cultural aesthetics by raising questions about hidden ideologies in visual images. The series is partially a response to Kenneth Clark's Civilisation series, which represents a more traditionalist view of the Western artistic and cultural canon.
Description
[edit]The book Ways of Seeing was made by Berger and Dibb, along with Sven Blomberg, Chris Fox, and Richard Hollis.[1] The book consists of seven numbered essays: four using words and images; and three essays using only images.[1] The book has contributed to feminist readings of popular culture, through essays that focus particularly on depictions of women in advertisements and oil paintings.[2] Ways of Seeing is considered a seminal text for current studies of visual culture and art history.
GROUP 2: On the cover of the book, stars the painting, The Key of Dreams by a Surrealist painter names René Magritte. This painting is divided into four panels in what looks to be a window ceil. In each of the four panels, there is a picture and word—but they do not match up. The top left panel includes a horse’s head with the words “the door” written under it. The top right panel includes a clock in which the words, “the wind” is written under it. The bottom left panel is a painting of a pitcher with the words “the bird” written under it. And finally, the bottom right panel is a picture of a briefcase with the words “the valise” written under it. Berger uses this painting to start the book even before the reader opens it, and to open the audiences mind through different “Ways of Seeing."
GROUP 1: JJohn Berger’s “Ways of Seeing” is an in depth look on art, the way people view art and paintings, and the influences that traditional oil painting has had on society and modern day media. The beginning of the book explains how art has been viewed by people in the present and how it was viewed in the past. The relationship between social status and the subjects of oil painting, particularly the female nude is discussed as well. Naked is to be ones self, nude is to be seen without clothes as an object in art. Berger explains how art was affected in modern day and how it was in the past.
The first part of the television series drew on ideas from Walter Benjamin's The Work of Art in the Age of Mechanical Reproduction arguing that through reproduction an Old Master's painting's modern context is severed from that which existed at the time of its making. The second film discusses the female nude. Berger asserts that only twenty or thirty old masters depict a woman as herself rather than as a subject of male idealisation or desire. The third programme is on the use of oil paint as a means of depicting or reflecting the status of the individuals who commissioned the work of art. In the fourth programme, on publicity and advertising, Berger argues that colour photography has taken over the role of oil paint, though the context is reversed. An idealised potential for the viewer (via consumption) is considered a substitution for the actual reality depicted in old master portraits.
Another key role of this book is the argument of “naked” verse “nude”. This book tells us that to be Naked is to be without disguise, to be completely one’s self. It also tells us that to be nude is to be covered up, both skin, hair, clothes are all used as desgises. This essentially came to be when Adam and Eve ate the forbidden fruit in the garden. That was the essential moment in time when both men and women realized they were naked and became ashamed. This point condemned us to never be truly naked as Berger described in this book.
Berger touhes on the differences between nudity and nakedness. Where being naked is considered being undressed to your own and nude is considered a work of art. Nude portraits flood the pages of chapter 3 in this piece of work. The dilemma ties in with Berger's other argument that men act versus women who are meant to appear. He explains how the world has made it where men are to act towards women and enjoy appearances of women. Women, who were portrayed in the nude artwork, are supposed to be just that; an appearance. These ways of seeing and thinking are still seen in today's times.
In chapter three, John Berger goes into detail about the way that woman are viewed. He states that that “the social presence of a woman is different in kind from that of a man.” He claims that men act and women appear. A woman’s presence expresses her own attitude to herself, and defines what can and cannot be done to her as opposed to a man whose presence suggests what he is capable of doing to you or for you. He also elaborates on European oil paintings where women were the principle, ever-reoccurring subjects. In such paintings are where women have been seen and judges as sights. Berger implies that men are the ideal surveyor and in paintings, photos, and other forms of art, the women offer up their femininity as the surveyed to the surveyor, the man.
Adding on to the second film, where Berger discusses the female nudity. He basically argues that Women are depicted in a different way from men because the “ideal” spectator is assumed to be male. Women can be seen as nude or naked. There is a difference between the two. The first is that nude is to be seen naked by others. Naked is to be seen as oneself. To be naked is to be without disguise, while nude is a form of dress. In European oil painting of the nude the principal protagonist is never painted because once again he is assumed to be male and in front of the picture.
Berger discusses how women are suppose to be seen in art. He portrays that women are to appeal the eyes of men and male gender in everything they do. In his argument he describes that women are just objects of the male artist. In the nude they are depicted for the male appeal. He argues that men judge what women do, look like and this depends on men treat them. In his arguments on oil painting he describes that oil painting are becoming a lost form. They make the spectator feel as if it appeals he must own it.
Another key argument that Berger makes is about the ways of seeing women. He states men act and women appear. Women are still seen today as they were in the past. He argues that being “nude” is simply to be seen by others and to be “naked” is to be without disguise. Today women are painted to be seen as nude and not naked. “Men watch women and women watch themselves being looked at.” This is one of the main ideas that Berger looks at that caught my eye. Women put themselves on a Pedi stole and watch themselves being looked at.
Berger talks about the things that art depicts. This includes things that oil paintings often depicts things--things that are buyable in reality. What he is trying to make the reader understand is that when a person buys a painting, the person also buys the look of the thing the picture/painting represents. The basis of oil paintings and the way these paintings were seen was weakened by Impressionism and dethroned by Cubism. The era of oil painting was between 1500 (16th century) to the end of the 1900s. This is because photography took over as a general way of viewing images.
In another portion of Berger’s Ways of Seeing, he states that women dress and present themselves as a representation of how they want to be treated. Scantily clad and promiscuous dress demands no respect. The way women have responded by dressing this way only furthers the issue. Through Berger’s quote on page 64, “(T)he essential way of seeing women, the essential use to which their images are put, has not changed. Women are depicted in a quite different way from men—not because the feminine is different from the masculine---but because the ideal spectator is always assumed to be male and the image of woman is designed to flatter him,” shows that women have never been equal in terms of status in the West. Woman’s value is not determined by what she can do or accomplish, but instead by what can or cannot be done to her. She does not represent a human with intrinsic capabilities and value, she is merely an object for man’s pleasure.
GROUP 2: The first part of the television series drew on ideas from Walter Benjamin's The Work of Art in the Age of Mechanical Reproduction arguing that through reproduction an Old Master's painting's modern context is severed from that which existed at the time of its making. The second film discusses the female nude. In this section, Berger points out that the idea that “men act” and “women appear” (47). What he means by this is that “men look at women” and “women watch themselves being looked at” (47). Because of this, “the surveyor of women in herself is male: the surveyed female” (47). This process turns a woman into an “object of vision” and reduces her to “a sight” (47). Therefore, since woman is no more than an object of one’s vision, she is depicted differently from man. Berger claims that the “ideal spectator is always assumed to be male and the image of woman is designed to flatter him” (64). Berger asserts that only twenty or thirty old masters depict a woman as herself rather than as a subject of male idealisation or desire. The third programme is on the use of oil paint as a means of depicting or reflecting the status of the individuals who commissioned the work of art. In the fourth programme, on publicity and advertising, Berger argues that colour photography has taken over the role of oil paint, though the context is reversed. An idealized potential for the viewer (via consumption) is considered a substitution for the actual reality depicted in old master portraits.
Berger also talks about the story of Adam and Eve and how the perception of their “nudity” changes to that of being “naked” after they eat the forbidden fruit. They shame in this realization therefore is the root of their sin. Berger argues that this is also the same in art, where nudity in art is supposed to remain beautiful and not something that is wrong in society. It is a form of clothing, where nakedness is views as not having clothes.
In chapter 3, Berger talks about the difference in how men and women are viewed. When men are depicted in works of art, they show power and create an aura of what they represent. When women are depicted, in works of art, they show the attitude, which she holds about herself. Berger explains the difference of the man’s presence in art and the woman’s presence in art in more detail on pages 45 and 46. Berger continues to discuss the idea that “men act” and “women appear” in works of art. Through examples, Berger shows the reader that men do in fact have a stronger presence in art works while women are more of an object to obtained.
Another key argument that Berger makes is about the ways of seeing women. He states men act and women appear. Women are still seen today as they were in the past. To emphasize this point, in the film Berger makes a series of visual comparisons between the poses women struck in oil paintings and the poses they strike now in modern media. These poses are always meant to elicit feelings of possession and sexual arousal in the viewer. According to Berger this viewer is always ideally male. He argues that being “nude” is simply to be seen by others and to be “naked” is to be without disguise. Today women are painted to be seen as nude and not naked. “Men watch women and women watch themselves being looked at.” This is one of the main ideas that Berger looks at that caught my eye. Women put themselves on a Pedi stole and watch themselves being looked at.
Berger notes a difference between being "nude" and being "naked". He says to be nude "a naked body has to be seen as an object". To be naked he claims is "to be oneself". This makes the woman into a spectacle to be looked at. He says that the ideal spectator of the nude is a man. The oil painting is where the nude originated. It started with the story of Adam and Eve. When they become naked the attention is turned to the spectator by way of Adam and Eve looking out of the painting towards the spectator.
In Chapter 5, John Berger goes into depth about the idea that with the advent of oil paintings in Europe, art became more of an object and a possession. Berger explains that although still used today, the use of oil paintings peaked between the 1500s and 1900s. It's was the superior way to capture visual images, until photography replaced it. Oil paintings, Berger argues, were so realistic that they promoted the concept of "owning". He says "Oil paintings did what capital did to social relations. It reduced everything to the equality of objects. Everything became exchangeable because everything became a commodity." Art became something you can display and can establish a sense of 'higher class' because you own it.
In addition, Berger talks about oil paintings in chapter five. He discusses how as oil paintings became popular; the pieces became more than just art. Wealthy merchants became able to purchase these pieces and the art turned to commodity. Oil paintings became exchangeable goods. Houses began to become build of paintings. The item on the painting became an item the owner owned. In addition, paintings began to hold a meaning toward the world and class. The art became symbolic of what the owner could buy. The prosperous person in the painting became how the owner viewed himself. This further led to the belief that the “good and honest” would be successful, while the others would become nothing.
John Berger says in chapter seven that publicity images pertain to a certain moment in time, but speak for the future. This means that they must be continually changing, and he claims that publicity images rarely discuss the present time they usually refer to the past. Berger says that we have become so accustomed to seeing these images everywhere that we have become familiar with the talk about the future or warnings of what could come. We pass by publicity announcements every day and we rarely seem to notice them. The publicity is said to relate to ideas of freedom, and Berger says that it is our choice if we listen or not.
In Chapter Five, Berger gives a sort of timeline to the oil painting in the book, Ways of Seeing. He discusses how it adapts from its creation in 1500 to its turmoil in 1900 and the cause is its rise and decline. On page 84, Berger says that the oil painting was “born” when there was a “need to develop and perfect this technique [of mixing pigments with oil] in order to express a particular view of life for which the techniques of tempera or fresco were inadequate.” In this sense, he describes the beginning of transition from wood to canvas. Berger goes on to describe the fall of oil paintings in 1900 having been “undermined by Impressionism and overthrown by Cubism. At about the same time the photograph took the place as the principal source of visual imagery” (84).
In the book Ways of Seeing, there are many controversial things that are addressed from paintings in past and present day. In chapter seven, Berger talks about the debatable public images that occur all across the world in present day. Publicity and freedom go hand in hand, and are very expressive. These public images represent the past, refer the future, and symbolize the present. These images address the public, and we do not even realize the impact that they have on us because they are always evident. This freedom allows for choice for producer and consumer, and it “persuades us in direction of transformations.” Berger points out these influential mediums that are impacting each of us every day.
GROUP 3: Chapter Two is simply an image essay, which depicts examples of the naked and nude oil paintings that will be further discussed in chapter three. One visual the chapter depicts are oil paintings that are examples of the moment of shame that Adam and Eve have. There are also photographs as well as advertisements that are shown flaunting a woman’s sexuality. These are perfect portrayals of how women are put out there to satisfy the ideal spectator: man. They also are examples of how women sit there and watch themselves being looked at. Any normal woman who cares about her appearance has the desire to have the same effect that the women in the advertisements do.
Chapter Two is made up of art pieces, photographs, and advertisements of women. This chapter illustrates the role of women in the media and their presence in pictures. While many of the pictures in Ways of Seeing are art pieces and photographs from our past, they also represent women in the media today. Berger creates the argument that the role of women in the media has not changed over the years. Berger goes on to also argue that a woman’s presence is much different than that of man’s. They present themselves in different manner which results in a different image of the two.
In Chapter 5, John Berger goes into depth about the idea that with the advent of oil paintings in Europe, art became more of an object and a possession. Berger explains that although still used today, the use of oil paintings peaked between the 1500s and 1900s. It's was the superior way to capture visual images, until photography replaced it. Oil paintings, Berger argues, were so realistic that they promoted the concept of "owning". He says "Oil paintings did what capital did to social relations. It reduced everything to the equality of objects. Everything became exchangeable because everything became a commodity." Art became something you can display and can establish a sense of 'higher class' because you own it.
GROUP 4 (Katikassing): Chapter three of Berger’s book focuses on the difference between the role of men and women, mirrored from the way art is portrayed. He explains how a man’s power and prominence in the world is typically measured by what he has to offer, either physically, mentally, financially, or by any other means. However, a woman’s role is significantly different. While a man’s power lies in his own ambitions and successes, a woman’s self-worth is derived from the way in which she presents herself to men, and the way in which she does this signifies the way in which she deserves or allows herself to be treated.
GROUP 5: At the first part of the book, John Berger argued that the reproduction of art destroyed the authority of art and remove its original meaning. The reproduction of art can be used by anyone for any purpose. Reproduction can cut a detail from a painting or add words around them to give a meaning to the painting. The authority of art is lost and the images of art become something transmittable, ubiquitous, valueless and free. They surround us like a language. [1]
Berger's main thesis that he continues to bring up throughout the book is the legitimization examination of men and women. Culturally men and women are still very different, for Berger he illustrates how men merely "act", and women "appear." This was part of his more profound quotes throughout the book as he further explains that, "men look at women and women, watch themselves being looked at"Cite error: There are <ref> tags on this page without content in them (see the help page).. He proceeds by alluding to the high renaissance era, creating an illustration of that women in paintings during the era were "used to be seen by male spectator" Cite error: There are <ref> tags on this page without content in them (see the help page)..
special features
[edit]The book “The Ways of Seeing” by John Berger has a very unique touch as it poses as both an informational book about the history of artwork as well as a book that shares important images over time and how they have affected our culture. “The Ways of Seeing” has chapters with words and pictures as well as chapters that are simply filled with photos only. Berger states that seeing comes before words and that a child looks and recognizes before it speaks. This book contains images of nudity which is covered by an important argument of “nakedness” vs. “Nudity.”
References
[edit]- ^ a b c Berger, John (1972). Ways of Seeing. London: British Broadcasting Corporation and Penguin Books. ISBN [[Special:BookSources/0-563-12244-7 (BBC), ISBN 0-14-021631-6, ISBN 0-14-013515-4 (pbk)|0-563-12244-7 (BBC), '"`UNIQ--templatestyles-00000017-QINU`"'[[ISBN (identifier)|ISBN]] [[Special:BookSources/0-14-021631-6 |0-14-021631-6]], '"`UNIQ--templatestyles-00000018-QINU`"'[[ISBN (identifier)|ISBN]] [[Special:BookSources/0-14-013515-4 |0-14-013515-4]] (pbk)]].
{{cite book}}: Check|isbn=value: invalid character (help); Cite has empty unknown parameter:|coauthors=(help); templatestyles stripmarker in|isbn=at position 22 (help) Cite error: The named reference "Ways" was defined multiple times with different content (see the help page). - ^ Walters, Suzanna Danuta (1995). Material Girls: Making Sense of Feminist Cultural Theory. University of California Press. pp. 51–2. ISBN 0-520-08978-2.
{{cite book}}: Cite has empty unknown parameter:|coauthors=(help); Unknown parameter|month=ignored (help)
- Fuery, Patrick and Kelli Fuery, Visual Cultures and Critical Theory, London: Hodder Arnold Publications. (2003) ISBN 0-340-80748-2.
- GROUP 3: Berger, John. Ways of Seeing. 1st ed. . England: British broadcasting corporation and Penguin books, 1972. 83-90. Print.
GROUP 1:Another key argument that Berger makes is about the ways of seeing women. He states men act and women appear. Women are still seen today as they were in the past. He argues that being “nude” is simply to be seen by others and to be “naked” is to be without disguise. Today women are painted to be seen as nude and not naked. “Men watch women and women watch themselves being looked at.” This is one of the main ideas that Berger looks at that caught my eye. Women put themselves on a Pedi stole and watch themselves being looked at.
Berger has several theories on time bias and space bias. Berger believes that certain images, while important, will not last the test of time. However, while some images may not seem significant at the time, say cave drawings, they will last the test of time and will be carried on for generations to come. Both images are important, however, some are meant to last and some are not. Things like books, monuments, stories are time biased: they will last for many years. Recent inventions, such as social media, span the globe, but in the near future may become irrelevant.
GROUP 2:In chapter three Berger discusses the role of men and women and what their presence conveys. A man’s presence indicates his power and his abilities with women. A woman’s presence conveys her thoughts about how she views herself and what she will allow a man to do to her. Berger also, discusses that woman survey everything we are to see how we are seen by others and most importantly how we are seen by men. This theory still holds true to do in advertising and in daily life. In Berger chapter two shows how woman are made into objects or photographed to be desired by men because men are the ideal spectators
External links
[edit]- Illustrations and Amplifications for John Berger's Ways of Seeing
- Excerpt from Ways of Seeing
- part of Ch.1 of Ways of Seeing
- "Puritanic Relationalism: John Berger's Ways of Seeing and Media and Culture Studies" by Jan Bruck and John Docker, Continuum: The Australian Journal of Media & Culture 2(2):77–95, 1989.
- "Notes on 'The Gaze': John Berger's Ways of Seeing by Daniel Chandler, University of Wales, Aberystwyth, MCS (website), 10 April 2000.
- Ways of Seeing on YouTube
Category:Art history books Category:Works about art genres Category:Works about ideologies