Public Spheres: A Tale of Composition

According to German theorist Jürgen Habermas, a public sphere is “A group of ‘private’ persons who could assemble to discuss matters of common ‘public’ interest” In essence, Habermas’s theory of a public sphere is a social space where anyone can express their opinions freely in terms of dealing with public interests. There are many forms of media today that resemble the concepts of public spheres. Though, contrary to Habermas’ theory, forums, blogs and other websites are not comprised of physical space, one could argue that this ‘space’ could also be defined by our modern modes of exchanging ideas.

The Daily Kos: State of the Nation website features a variety of public issues that all bloggers can comment on. Topics on the website range from public predictions of the World series to A summary of the Swine Flu vaccination process. From what I’ve read, the articles themselves mostly present factual information. The discussions that follow allow for very opinionated comments where everyone is free to share their views.

Habermas explains how public spheres are formed when individuals assemble and form a public body. In some ways, all of the contents displayed in The Daily Kos: State of the Nation were first written in individual private spheres (like the comforts of our own homes for instance.) before they were published and shared on the website, which in itself represents the public body. Thus, it is fair to say that The Daily Kos can be considered as a strong public sphere according to Habermas’ theory.

The Final Interpretation - October 18th, 12AM

In The Rhetoric of Image, Roland Barthes establishes his position in regards to semiotics by explaining how individual subjects within an image can create a unified meaning through the correlations between their signs. He used to Panzini ad example to demonstrate a proper, semiotic breakdown. Three of the most crucial points made in his essay were:

A.) “To read this first sign requires only a knowledge which is some sort implanted as parts of the habits of a very widespread culture”

Though it might sound superfluous, the quote is important in that it brings awareness to something that we usually would not consider. The way we interpret different signs is determined by our own understanding of the presented material. When analyzing the ad for the last episode of The Sopranos, it is important to note that the title of the series does not appear anywhere on the image. The ad obviously requires the viewer to make the connection through the rest of the image based on their knowledge of the show. This could be done via our understanding of the setting (New Jersey) and the character (Tony Soprano). However, this connection is exclusive to only those who follow the show. Thus, we can say that the ad was able to provide those of us who know of the show with a sense of privilege and at the same time also fascinate those who are new to the series. Either way, the ad is successful in achieving its goal.

B.) “The image immediately yields a first message, whose substance is linguistic; its supports are the caption, which is marginal, and the labels, these being inserted into the natural disposition of the scene”

Here, Barthes talks of the importance of the linguistic code. Though this quote might not be as ‘illuminating’ as some might consider due to its simplicity, Barthes unarguably makes a fair point here. Take The Sopranos ad for example. The message informs us of an event, date and time, allowing us to deduce that the image is an ad for the series’ finale. The second line in red text reads “Made in America”. This is clearly a reference that would require prior knowledge of the show to interpret accurately. In a way, the text in the advertisement is used to capture our attention, as a plain image would provide insufficient meaning to those who do not know of the show. Though the text is informative in some ways, much of the image’s content is still shrouded in mystery.

C.) “There are those who think that the image is an extremely rudimentary system in comparison with language and those who think that signification cannot exhaust the image’s ineffable richness. Now even -and above all if- the image is in a certain manner the limit of meaning, it permits the consideration of a veritable ontology of the process of signification”

This is one of the most intriguing ideas proposed by Barthes. In essence, Barthes provides arguments on both sides in terms of the search for meaning in images. One could say that the true meaning behind an image would be lost in a desperate attempt of interpretation. However, it could also be argued that all images contain universal meanings on a basic level and that the search for meaning is not a self-defeating process. In the case of The Sopranos ad, we can say that, based on our understanding of the subject presented in the image, the viewer can form two very distinct interpretations. To some extent, Barthes’ understanding of semiotics could be briefly summed up in a simple statement; and that is how the simplicity of an image itself can sometimes carry the most complex connotations (depending on the viewer.)

The Art of Blair Witch

The Blair Witch Project is a 1999 horror film directed by Daniel Myrick and Eduardo Sánchez. The film received many positive reviews from critics and was given the Global Film Critics award for Best Screenplay. It grossed over $150 million in the U.S and had the highest ratio of box office sales to production cost in the American filmmaking history. I personally believe that much of the film’s success had to do with clever marketing and the appeals of hyperrealism.

It is mentioned in The Work of Art in the Age of Mechanical Reproduction that when spectators are replaced by a camera, the aura, which emanates from the actor, and thus the character, would be lost. Though I believe this to be somewhat valid, it can’t be argued that The Blair Witch Project made many attempts at recapturing this aura, both in terms of the way the film was shot and the way that it was presented.

The film utilized many documentary conventions to establish its realism. It has been mentioned in interviews that, during pre-production stages, information of the myth in regards to the witch and the students were spread on the Internet to bring about confusion of the film’s ontological status. This not only helped create a market for the film, but also constructed it as a true story. As the aforementioned “aura” refers to something that is tied to the presence of a particular actor, the film was able to deliver an element of the aura by manufacturing characters whom some believed to be real.

In terms of filming, the actors were encouraged to stay in character, and were deprived of food and sleep. Much of the dialogue was improvised, and the events shown in the film evoked genuine emotions from the actors, who were also unaware of those proceedings. All this was done during the shoot to emphasize the idea that camera can capture reality as it is when it unfolds. All of this is clearly another attempt at recapturing the aura, executed in the notion that if what is shot is real, it will be perceived as such.

Another quote mentioned in The Work of Art in the Age of Mechanical Reproduction uses an artist/cameraman analogy to illustrate the significance of the form of reality brought forth by film. To some extent, The Blair Witch Project was able to offer a reality that is rarely seen in even documentaries, and all this is done through cinematography.

The actors in the film utilized two cameras, which allowed for two different interpretations. The 16mm was used to record objective documentary footage while the camcorder was used to capture the characters’ experiences, emotions and intimate events. The shaky frame, loss of focus and arbitrary juxtaposition were all used to demonstrate a feeling of intimacy. In a way, the audience is being given access to personal moments through an almost voyeuristic perspective. Many close-ups were shown through the camcorder, and every display of emotion shortened the distance between the film’s reality and our own, and made us feel as if we were actually there. The camcorder allows the audience engage the film in such a way that they are brought inward, and this can definitely be considered as an assertive attempt at cutting into reality.

Tokyo vs Hollywood: The Forms of Realism

Tokyo Stories (also known as Tôkyô Monogatari) is a Japanese film directed by Yasujiro Ozu. The film was originally released in 1953, and differs greatly from the realism we would expect from a Hollywood classic made in that same decade. The story centers around the journey of an elderly couple (Shukishi and Tomi) who travels to Tokyo to visit their children (Shige and Koichi) and their widowed daughter-in-law (Noriko). The children feel obligated to entertain their parents, but were busy with their own lives. Eventually, the couple comes to realize that they are a burden to their kids and decides to return home. Though the film demonstrates some qualities that can also be seen in Hollywood realism, they were conveyed in a foreign style that introduced a new approach.

Tokyo Stories tells a story that is so common and ordinarily simple that it is rarely seen on screen. Unlike some of the other classic Japanese storylines which revolve around Samurais and wars, Tokyo Stories is a classic that deals with the relatable genre of family drama. In some ways, it almost resembles Japanese minimalistic art, where the artists strive for simplicity and subtlety. The lack of sophistication and the simplistic narrative itself were used as a tool to captivate realism. Though the plot is rich with dramatic soap opportunities, Ozu focused more on the details of the character's lifestyles and chose not to incorporate any thrilling situations that one would expect from a Hollywood classic. This particular realism is what made the film heartfelt and compelling. The story gave up excitement in order to instill emotional responses within the audience. Many of the major events mentioned in the film were never shown on screen (For example, Tomi’s illness that occurred during their return journey). Regardless, Ozu was still able to deliver the emotional continuity without constructing all the plain occurrences that happen in between.

The continuity editing in Tokyo Stories is also very different from the conventions of Hollywood continuity. The 180 rule which Hollywood filmmakers so strictly comply with due to it’s ability to bring forth a sense of continuity realism through juxtaposition is, to a certain extent, ignored by Ozu. However, this consistency between the shots was not lost in vain. In terms of cinematography, the film simply wanted to convey realism in a different way. There were little camera movements and many noticeable subjective camera work. For example, the low angle shots that were used during indoor scenes provides the audience with the sense of actually being there, sitting on a tatami mat. While Hollywood classics adhered to the cinematic establishment that is the use of a constant stream of continuous shots to convey realism, Tokyo Stories was more concerned with portraying the character development and story progression in a way that served the film best thematically.

The Essence of Black and White

The books Practices of Looking and Film Art: An Introduction each have their own notions on the values that define an image. Practices of Looking argues that the meaning and significance of a work of art lie in the audience’s interpretations rather than the work of art itself. The book considers all the factors that could potentially help generate an image’s meaning and talks of the concepts of interpellation, aesthetics and ideology. Film Art: An Introduction focuses more on the work of art itself. The book’s thesis reflects on the form and content that makes up an image. It talks of an overall system of relations that we receive from the content and form, and mentions the different connotations, meanings and emotions that they might invoke.

The photograph “Charleston, South Carolina,” is a black and white photo taken sometime in the ‘50s by Robert Frank. It features an image of an African American woman holding a Caucasian baby. The photo presents a very stark contrast between black and white, and centered the juxtaposition of the subjects to place further emphasis on it’s use of colors. From my understanding, Practices of Looking would most likely first deliberate on the emotional response and focus on the protective, caring and nurturing expressions that the photo is trying to captivate. It might also take into account the period in which the photo was taken and evaluate the social and cultural aspects that were present during that particular setting; one that encompasses racial tensions and power struggles.

Film Art: An Introduction would most likely interpret this image differently and focus more on the stylized presentation of the photograph. It might suggest that the aforementioned contrast in color is a symbol of unity and devotion. Since the photo itself is a black and white image, I believe that Film Art: An Introduction will center their interpretation on the color scheme itself. As much of the book talks of how works of art can inspire activities, the book might argue that the image deals with themes of maternal instincts, and how it aims to inspire the viewer with its affectionate and tender illustration.