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Visual Communication
| Term | Definition |
|---|---|
| Visual communication | It refers to the transmission of information and ideas trough symbols and imagery. It complements other forms of communication, such as verbal and non-verbal. It encompasse a wide range of visual element. |
| Technologies | Involves all technical processes and equipment impacting the content and form of visual communication. It explores how different technologies shape the production and perception of images. |
| Languages | The study of codes, structures, narrative development, and visual and rhetoric effects in every form of media and visual communication. It focuses on understanding how messages are constructed and conveyed. |
| Visual communication | needs a producer (human or technical)+ transmission (space ) + information (content) + a receiver (wich gets the info). In this case only the ones wich were intendeb by humans for humans. |
| Images rely | These images and image sequences rely on a set of basic components. These elements helps us to understand how they shape our perception of the world. |
| The image as a discourse | Determinate our own vision of the world. |
| the image is a discourse so => should be language of images | Since it is always dependent on its context of use and multiple contexts of receptions. |
| The BFI model (1989) 6 | parameters wich are shaping visual communication each one of them, contributes to the construction and the structure of visual discourses, providing a comprehensive framwork to analysis. |
| FBI 1 ( languages | The study of codes, structures, narrative development, and visual, and rethoric effetcs, in every form of media and visual communication. It focuses on understanding how messages are constructer and conveyed. |
| FBI 2 (technologies) | It involves all the technical processes and equipment and their impact on the content and the form of the message. |
| FBI 3 (representations) | representation produced by the picture itself (what is depicted in the picture, matter of content) and also refers to the effect this picture (and content) can have on the audience. |
| FBI 4 (typologies) | a picture can produce ather meaning |
| FBI 5 (audience) | an activity by which a public give meaning Focuses on how pictures evoke perceptions, target specific audiences, and aid in decoding conveyed messages. |
| FBI 6 (producer) | Encompasses production systems, distribution circuits, and socioeconomic constraints shaping visual communication. Explores the ideological environment and stakes influencing the creation and dissemination of images. |
| François Arago 1839 | Descript the Daguerreotype as an automatized process. It is a precise tool which everyone can manipulate. |
| François Arago critique | This Idea seems dated since we know that there's |
| Felix Tournachon (Nadir) 1857 | Points out that photography somehow works by itself and can be learned in just a few hours. If we believe that our pictures can show / prove something than it is because everyone can take pictures. It is something like a sign without language. |
| André Bazin "The ontology of the phoyography" 1960 | The idea of faithful reproduction: he argues that photography is an exact representation. It’s all about credibility and faithful reproduction. |
| Nadar critique | Technology induces a certain expectation. If we can say today that something is missing than this means that there are also maybe some things that are missing in recent pictures. |
| Framing | Technology induces a certain expectation. If we can say today that something is missing than this means that there are also maybe some things that are missing in recent pictures. |
| Framing 2 (reynders), (harry) | A picture is always a matter of choice. Different point of views can change the story of the picture and furthermore to a misunderstanding. However, the picture still can be authentic. |
| Framing 3 Levy | Framing is choosing the moment and the of-screen |
| Framing 4 (scene meeting) | is organizing, structuring : |
| eye-tracking device | mesures the micro movements of the eyes. It provides insights into user attention and engagement with different elements within an image |
| focus point : (kim-spiel) | our eyes will almost tend to be attracted to objects that are on one of the strong points. |
| Vertical and horizontal lines | The lines give a stability to the image. |
| The Z pattern | Accroche visuel Signature Western vision of the world |
| Unframed picture | does not respect the horizontal human eye leved. It creates a feeling of weirdness. Can be used on purpose to create a new interest or show the state of mind of the characters |
| Insert:Detail | shows a small part of a represented object or body part . |
| an eye , or mouth | insert / detail |
| Extreme or big close up | shows the object as an entity, but close |
| confrontation btwn actors and audience Que la tête | Extreme / big close up |
| Close up | shows the part of an object or body part in its entirety |
| Character psychological state of mind head and neck | close up |
| close shot | only take a part of the object |
| head to shoulder/ breast | close shot |
| Medium close shot | shows a larger portion of the object |
| head to waist, bust | medium shot |
| Medium shot | in western movie |
| head to knee | Medium shot |
| Full shot | entire human body |
| head to toes | full shot |
| long shot | object + place |
| low angle | audience is dominated character is dominant |
| high angle | audience dominant character dominated, fragile |
| Add Bob, I've got emphysema | textual message : bad news reception context, more diffuse crucial to understand => shock since smoking ok for doctor intertextuality : difficult, link btwn 2 picture => malboro |
| the textual message | is essential to affirm an interpretation |
| photography | Index -> a sign motivated by material continuity Icon-> a sign motivated by ressemblence vs texte -> arbitrary sign |
| Two opposite | text: elicits a rationnal response image: engages with our emotions |
| Relation of congruence | the verbal and non-verbal are naturally enhancing a coherent message (biotherme) |
| Relation of opposition text:image | It happens when the text tells you the contrary of the image |
| relation of opposition predominance image-text | the image wins over the text. But it still needs the message to stay efficient ex : china |
| Relation of opposition predominance text:image | text wins over the image. But it still needs the image to stay efficient or reliable to the sentence. ex: don (couverture erotique |
| Dolly | Forward: backward movement |
| truck | Left-right movement |
| pedestal | up- down movement |
| pan | right-left horizontal axial movement |
| Roll | right- left vertical axe movement |
| tild | low-high vertical movement |
| Shot / Reverse shot | classical way to edit a discussion btwn character |
| cut away shot | abrupt cut from one shot to the next, with a brupt change of scale. Rupture , mainly in horror |
| cross-cutting | 2 more actions occuring at the same time. Often used to produce dramatic tension |
| Jump cut | cuts within the same shot. Jump ahead in time.French new wave |
| cross dissolve | shot overlapping another one create an ellipse |
| le fade | do not know how to end a scene |
| J cut | from the next scene on the previous |
| L cut | sound from preceding scene as we enter a new one |
| Match cut | A shot carries over elements from a precedent shot |
Created by:
nono2804