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Culture Documents
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UNIVERSITY OF MINDANAO
College of Arts and Sciences Education
Languages Discipline
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TABLE OF CONTENTS
Page
Course Outline 5
Course Information 9
Metalanguage 11
Essential Knowledge 12
2. Visual Technologies 20
ULO-a Activities 24
Metalanguage 31
Essential Knowledge 31
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2. Visual Narratives 31
ULO-b Activities 50
Metalanguage 56
Essential Knowledge 57
1. Normalizing Vision 57
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Metalanguage 68
Essential Knowledge 69
1. Media as Spectacle 69
ULO-d Activities 76
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Mobile: 09359353874
Effectivity Date: March 2022
Mode of Delivery: Blended (On-Line with face to face or virtual sessions)
Time Frame: 54 hours
Student Workload: Self-Directed Expected Learning
Requisites: None
Credit: 3
Attendance Requirements: A minimum of 95% attendance is required at all
scheduled Virtual or face to face sessions.
Contact and Non-contact Hours This 3-unit course self-instructional manual is designed
for blended learning mode of instructional delivery with
scheduled face to face or virtual sessions. The
expected number of hours will be 54, including the face
to face or virtual sessions. The face to face sessions
shall include the summative assessment tasks (exams)
if warranted.
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task.
If the assessment task is done in real-time through the
Blackboard Learning Management System's features,
the schedule shall be arranged ahead of time by the
course coordinator.
Return of Assignments/ Assessment tasks will be returned to you two (2) weeks
Assessments after the submission. This will be returned by email or
via the Blackboard portal.
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Re-marking of Assessment Papers You should request in writing addressed to the program
and Appeal coordinator your intention to appeal or contest the
score given to an assessment task. The letter should
explicitly explain the reasons/points to contest the
grade. The program coordinator shall communicate
with the students on the approval and disapproval
of the request.
If disapproved by the course coordinator, you can
elevate your case to the program head or the dean with
the original letter of request. The final decision will
come from the dean of the college.
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Preferred Referencing Style Use the 7th Edition of the APA Publication Manual
Students with Special Needs Students with special needs shall communicate with
the course coordinator about the nature of his or her
special needs. Depending on the nature of the need,
the course coordinator, with the approval of the
program coordinator, may provide alternative
assessment tasks or extension of the deadline for
submission of assessment tasks. However, the
alternative assessment tasks should still be in the
service of achieving the desired course learning
outcomes.
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CC’s Voice: Welcome to this course GE 20: Reading Visual Arts. You have seen around you
the diverse forms of arts. How do we gaze at them and interpret the arts depend
on our everyday experiences. It is good to note that “to see is to believe”,
however, the process of understanding lies not on the peripheral aspect of an
artwork but what is within. Thus, our central concern is to make sense of the
importance of visuality to what people say and do., and how, they act in their
everyday lives.
Reading the Visual Arts enables you to have an ability to innovate, appreciate,
CO critique, and analyze. Through transdisciplinarity and multimodal approaches, this
course equips students with broad knowledge of the human disciplines that
characterized modernity, cultural studies that underpinned modern life.
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Knowledge on the tacit understandings people have of the visual domain,
cultivate their imagination, make sense of the importance of visuality, explore the
effect the idea of aesthetics has on reading of visual texts, analyze the economic
effects of a globalized market, and illustrate explanations and arguments with images
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This course helps you to identify the basic elements and principles of reading
visual art, visual technologies and understand its meaning.
This will enable you to exemplify imaginative ability which are essential in
communication and the visual and the visual narratives.
It also helps you apply analytical and critical skills in describing both Visual
Arts and communication literacy.
This will produce innovative and highly eclectic presentations using the modern
technologies and different facilities of arts.
Let us begin!
Big Picture
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Metalanguage
In this section, the essential terms relevant to the study of GE 20 (Reading Visual
Art) and demonstrating ULO-a will be operationally defined to establish a common
frame of reference as to how the text works. You will encounter these terms as we go
through the study. Please refer to these definitions in case you will encounter difficulty in
understanding some concepts.
2. Reading the visual. We draw on our general and specific knowledge, tastes,
habits, and personal context.
3. Visual Culture. The study of genealogy and practice of visualization of
modern culture. Its concentration is on the interface between images and
viewers rather than on artists and works. It is concerned with visual events in
which information, meaning, or pleasure is sought by the consumer in an
interface with visual technology.
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5. Capital-A Art. It is one discipline that provides many useful techniques for
anyone studying visual culture and is one of the important fields of social
understanding, history, and culture.
11. Context. This means the environment in which a text occurs and
communication takes place.
Essential Knowledge
To perform the aforesaid big picture (unit learning outcomes) for the first three
(3) weeks of the course, you need to fully understand the following essential
knowledge that will be laid down in the succeeding pages. Please note that you are
not limited to refer to these resources exclusively. Thus, you are expected to utilize
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other books, research articles, and other available resources in the university’s library
e.g. ebrary, search.proquest.com etc.
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2. Every act of looking and seeing is also an act of not seeing-some things
that must remain invisible if we are to pay attention to other things in
view.
3. The extent to which we see, focus on and pay attention to the world
around us. (Three actions are inextricably linked, depends upon the
specific context in which we find ourselves).
Context- means the environment in which a text occurs and communication takes
place. Contexts are extraordinarily dynamic and variable because they incorporate
everything involved in that environment: the people, their history, current events,
similar texts with which they are comparing this one, and so on.
While the process of making and negotiating the visual (whether driving a
car or taking a photograph) is always informed by the notions of
attentiveness, selection and omission, and context, there are other issues
which we need to consider, such as when we do focus on, attend to and
see something, and why do we see things differently over time, or from
other people?
We can carry this insight further by suggesting that when we see, we are,
in effect, engaged in the act of reading (the visual). When we read a book,
we try to follow, consider and understand the material at hand (the
words, the sentences, the story), and we end up making both meanings
and connections between different meanings.
(Please refer to the PDF Reading the Visual pp. 14-32 in the Blackboard
Open LMS for further details)
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Simple Recall: In the film “The Fellowship of the Ring, the hobbit Bilbo Baggins is
represented as an inoffensive, generous, and altogether nice type who seems untouched by
desire, passion, or greed. But he has a secret: he owns a ring that can cast an evil spell on
him (binary of things).
Habitus- can be understood as a set of values and dispositions gained from our
cultural history that stay with us across contexts (durable and transposable). These
values and dispositions allow us to respond to cultural rules and contexts in a variety
of ways (they allow for improvisations). Still, these responses are always determined-
regulated- by where we have been in culture.
Cultural Literacy- refers to a general familiarity with, and an ability to use, the official
and unofficial rules, values, genres, knowledge, and discourses that characterize cultural
fields. In this sense, it is not just familiarity with a body of knowledge; it also presupposes an
understanding of how to think and see in a manner appropriate to the imperatives of the
moment.
Our situation in that what we see is inextricably linked to and is a product of our
cultural trajectories, literacies, and context.
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(Read further the PDF Reading Visual about Seeing in Context for further details)
Selection and omission, framing, and the evaluation-every act of looking and
seeing is also an act of not seeing. (see figure1.3, pp. 30-reading the visual)
Selection, omission, framing, and evaluation produce a visual text.
2. Two important factors here are attention and focus. If we are attending closely or
carefully to an event, person, thing, or scene, we will create a text made up of what
we call contiguous elements.
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(Read further the PDF Reading Visual about Techniques of Seeing as Reading for
further details)
1.4. Seeing in Time and Motion
a. Color
b. Shape
c. Movement
d. Texture
e. Distance
f. Light
(Read further the PDF Reading Visual about Seeing in Time and Motion for further details)
1. Sign- is anything that is treated as a meaningful part of the unit that is the
text.
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(Refer to pp. 27, Reading the Visual- pictures provide an example of the
relational character of signs and texts)
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(Read further the PDF Reading Visual regarding Text and Genres)
2. Visual Technologies
Pierre Bourdieu writes, “the relation to the world is a relation of presence in the
world, of being in the world, in the sense of belonging to the world.”
So we see and perceive not because we are looking at the world from the
outside, as it were, but because we are part of everything within our gaze.
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What comes out into your mind upon gazing at the picture below?
Tacit seeing is fine if we simply want to get through the day’s responsibilities
and activities, but it is insufficient if we want or need to make sense of what
we are seeing.
As an analogy, consider the processes of communicating in the language.
The school system trains children to develop sophisticated literacies in the
various components of written language-we, learn the shapes of letters, learn
the look of words, we learn grammar and syntax- and with these literacies
(and discipline-specific training), we can write or read anything from abstract
philosophy to shopping list.
(Refer to pp. 42-45; Reading Visual Art PDF for further reading)
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We can take from this that technology is not just know-how or designed
devices; it is also a verb, a principle of action.
(Refer to pp. 53-55 of the PDF Reading the Visual for further information)
Self-Help: You can also refer to the sources below to help youPAGE
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Let’s Check
Activity 1. Now that you know the important concepts of reading the visual, let us try to
check how well you understand the topic. Read the following sentences carefully. Write
TRUE if the statement is correct and FALSE if otherwise.
____________ 1. Reading is both an active and creative process while reading the visual
draw our general and specific knowledge, tastes, habits, and supernatural contexts.
____________ 2. Visual culture is a field of study and a set of ways of understanding these
physical and social phenomena.
____________ 3. Semiotics is an analytical approach and a research methodology that
examines the use of what we are called visuals in society.
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____________ 4. Text is a collection of signs organized in a particular way too devoid of the
meaning of visual art.
____________ 5. Habitus is a set of values and dispositions gained from the cultural history
that stay with us across contexts.
____________ 6. Cultural history and trajectories naturalize certain values and ideas, and
effectively determine worldviews.
____________ 7. Cultural literacy presupposes an understanding of how to think and see in
a manner that is inappropriate to the imperatives and context of artworks.
____________ 8. Things needing to happen twice means that we sometimes fail to see the
significance of something until we are aware of what could call a pattern.
____________ 9. If we are attending closely or carefully to an event, person, thing, or scene,
we create a text made up of what we call continuum elements.
____________ 10. Genres are text-types that structure meanings in a certain way through
their associations with a particular purpose and social context.
Let’s Analyze
Activity 1. Guided by the lessons on the introduction of reading visual, it is best to note that
you can articulate the sub-topics in a manner of explanation. Now, it is your chance to
explain the following succinctly.
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3. Seeing as Reading
5. Tacit Seeing
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7. Seeing as Literacy
8. Arresting Reality
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9. Seeing in Context
In a Nutshell
Activity 1. Based on the essential terms and operational definition of concepts in the study
of reading visuals, please feel free to write your arguments or lessons learned below.
1.
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2.
3.
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Q&A List
Questions/Issues Answers
1.
2.
3.
4.
5.
Keywords Index
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Metalanguage
Week 4-5: Unit Learning Outcomes (ULO-B):
For you to exemplify ULO-b, you will need to have an operational understanding of the
following terms below. You will encounter these terms as you go through this topic. Please
refer to these definitions in case you encounter difficulty in understanding some concepts.
2. Seeing Subjects. Human beings whose feature characteristics are that they
access the physical and intellectual world through vision.
Essential Knowledge
To perform the aforesaid unit learning outcome, you need to fully understand
the following essential knowledge laid down in the succeeding pages.
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Eyes, in particular, fascinate us. They are the ‘windows to the soul.’
Human beings have always lived in a world packed with visual objects and
phenomena and have always looked at and made sense of the things
about them.
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Semiotic its basic principle is that language is not simply a naming device
but rather a differentiated symbolic system.
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We cannot rely on the evidence or the authority of our eyes to tell us the
truth of what we are seeing, and it can be argued that what reality means
in visual culture is simply a means of communication (it’s real, or like
reality, because it’s telling us something true).
2. Visual Narratives
“A picture paints a thousand words,” and this is the issue we deal with in this
chapter: the degree to which pictures-visual culture-can communicate or present
not just forms but stories too.
In the earlier chapters, “reading” visual texts, and this expression alludes to the
notion that pictures, images, and visual objects more generally are not just to be
looked at, but contain a story, or a body of information, which we can access as
we might access the content of a written text.
There is very little in the literature to indicate what is meant by “narrative
picture” or how such an object relates to what we know of narrative more
generally.
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This chapter explores what constitutes a narrative, its various elements, and how
these elements work together.
The narrative, in its simplest form, means ‘story.’ But of course, it is more
complex: the word comes from the Latin narrare, ‘to relate,’ so it
denotes both what is told and the process of telling.
Narratology is the study of narrative. It begins with the ancients and with
works such as Aristotle’s Poetics. More recently, it has been associated
with structuralists like Gerard Genette and Roland Barthes’ early writings.
Narrative theorists agree that the first and central issue about the
narrative is that stories always operate within a social context. The way
we organize the content of a narrative, what elements it must have, who
reads it, where it is read, and what it seems to be saying are all
determined by its cultural context.
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Watch a movie or read a novel or short story and write the basic elements of the story.
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As Berger stated that ‘narratives, in the simplest sense, are stories that
take place in time-although, it is difficult to think of a story that doesn’t
take place in time. And Shlomith Rimmon-Kenan agrees that ‘time itself is
indispensable to both story and text.
(Read further the details from pp. 86-87 from Reading Visual)
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Visual texts also use figures and techniques to convey stories through
conventions known by most people in a society. The use of literary (and
other) allusions is one approach.
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The known story and the produced image, which narrative theorists term
respectively fabula and sjuzet.
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‘good writing’ is mimetic (it shows’) and not diegetic (that is, it doesn’t
tell)
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Examine this picture using the appropriate literacies to read the artwork.
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(Read further pp. 125-127 for Reading Visual for more details)
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Self-Help: You can also refer to the sources below to help you further understand the lesson:
Let’s Check
Activity 1. Now that you have a better knowledge of visual narratives and visual culture let
us check how well you understand the topic. Identify the answer to the following questions.
1. Who said that ‘the ability to judge works of art is dependent upon the clarity of
thought and knowledge, and not on the emotions”?
____________________________.
2. Who painted the work Madonna and Child with Infant John the Baptiste?
_______________________.
3. Is something peculiar to human culture or produced by human beings, is called?
________________.
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Let’s Analyze
Activity 1. To further understand visual narratives and visual art and culture, explain the
following phrases.
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In a Nutshell
Activity 1. Based on the definition of the essential terms and concepts of visual narratives,
art and culture, and the learning exercises you have done, please feel free to write your
arguments or lessons learned below.
1.
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2.
Q&A List
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Questions/Issues Answers
1.
2.
3.
4.
5.
Keywords Index
Visual Narratives Art Reality
Field Aesthetics Seeing
Visual Art Visual Culture Aristotle
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Let’s us begin!
Metalanguage
For you to exemplify ULO-c, you will need to have an operational understanding of the
following terms below. You will encounter these terms as you go through this topic. Please
refer to these definitions in case you encounter difficulty in understanding some concepts.
1. Visual regime refers to the process whereby a particular field or group of fields
(say, the sciences) manages to export its ways of seeing to most or all other fields,
which in turn leads to a universalizing of the authority of different forms, genres,
mediums and practices of the visual to provide access to what we could call ‘visual
reality.’
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Essential Knowledge
To accomplish the aforementioned Big Picture Unit Learning Outcome (ULO-c) for
weeks 7-9, you are required to fully deduce the following vital knowledge that will be laid
down in the succeeding pages.
1. Normalizing Vision:
Introduction: Read the Synopsis of the Marx Brothers’ film Night at the Opera
• What is
this film all
about?
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• Jonathan Crary argues that the advent and development of discourses, ideas,
perspectives, and practices define normalization as potential resources.
• Being disciplined did not simply mean being punished-rather; it referred to a process
whereby people’s bodies would be disposed to behave in a manner consistent with
the state and its various institutions considered normal, healthy, and productive.
Liposculpture:
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• Machine for recording the pace of work in factories, stadiums, and barracks meant
that knowledge, in the form of exact and specific measurements of normality, was
now disseminated for the population to use against itself.
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Don Quixote
• Foucault suggests that this new (scientific) knowledge supposedly allowed people to
see ‘truly’- or at least, it claimed to be able to train and discipline the eyes to
distinguish truth from illusion.
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The eyes could then provide an accurate picture of the world, but only if modern
knowledge and techniques were directed and looked through those eyes.
• Figure A captures a considerable amount of detail that can be used to describe and
categorize the snail. It is limited precisely in that it isolates and, in a sense,
decontextualizes that information (in that it removes, for instance, the contexts and
relationships of movement).
Introduction:
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Foucault reiterated that the ‘attitude’ of liberalism that ‘the free enterprise of
individuals’ was the best principle for producing greater wealth and prosperity.
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• The sense of values determines how things are viewed in the market have been
dismantled.
• The notion of art provides an insight into, and a critique of, culture and society are
irrelevant since the link between what the work is and where it came from now
effectively severed.
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• In human sight, binocular vision is seamlessly transformed into what seems like
monoculars.
Self-Help: You can also refer to the sources below to help you further understand
the lesson:
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Let’s Check
Activity 1. Now that you have a better knowledge of the normalizing vision and selling
visual, let us try to check how well you understand the topic. Define the following terms.
1. Capitalism
2. Commodity
3. Normalization
4. Liberalism
5. Biopower
LET’S ANALYZE
Activity 2. As you understood the topics of Normalizing vision and Selling the vision, explain
the following pictures vividly.
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1.
2.
3.
IN A NUTSHELL
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Activity 3. As you understood the lesson of selling the visual, you are expected
to.
1. Create your brochure promoting the tourist attractions of your place.
Let’s us begin!
WeekULO-d.
7-9 : Demonstrate
Unit Learning Outcomes
a deep knowledge(ULO
on -the
c) media as spectacle.
B. Design a TV interview and present it in front of the class using the PWA approach.
Metalanguage
In this section, the essential terms in this course, specifically in this unit, will be
operationally defined to demonstrate a typical frame of reference as to how the text works.
Please refer to these definitions in case you will encounter difficulty in understanding some
ideas.
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3. Interpellation means to use in almost every aspect of our society, especially in the
marketing of merchandise.
Essential Knowledge
To accomplish the aforementioned Big Picture Unit Learning Outcome (ULO) for Weeks
8-9, you are required to fully deduce the following vital knowledge that will be laid down in
the succeeding pages.
In this unit, we consider how contemporary visual practices are influenced by a field
whose primary function is arguable to provide, in Claude Lefort’s words, “the constant
staging of public discussions as spectacle. Include all aspects of economic, political, and
cultural life”.
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* Contemporary Art in today's art was produced in the second half of the 20 th century or 21st
century. Contemporary artists work globally influenced culturally diverse and
technologically advancing world. Their art is a dynamic combination of materials,
methods, concepts, and subjects.
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* Debord defines the spectacle as the “autocratic reign of the market economy.” Though
the term “mass media” is often used to describe the spectacle’s form, he derides its
neutrality. People, instead of talking about the spectacle they often prefer to use the term
media. So, Debord portrays the spectacle as capitalism’s instrument for distracting and
pacifying the masses. The spectacles take on many more forms today than it did during
Debord’s lifetime.
* SPECTACLE can be found on every screen that you look at. The advertisements plastered
on the road and the pop-up ads that appear in your browser (Refer to Reading Visual PDF,
pp. 169-170).
4.2 The Media and Imagined Communities
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* This picture is a young Negro in a French uniform is saluting, with his eyes uplifted,
probably fixed on a fold of the tricolor.
* What can you infer about the image?
* Media - a channel or system of communication, information, or entertainment
- a mode of artistic expression or communication
(Merriam Webster Dictionary)
The term media, which is the plural of medium, refers to the communication channels
through which we disseminate news, music, movies, education, promotional messages,
and other data. It includes physical and online newspapers and magazines, television,
radio, billboards, telephone, the internet, fax, and billboards.
It describes the various ways through which we communicate in society. Because it refers
to all means of communication, everything ranging from a telephone call to the evening
news on television can be called media.
When talking about reaching a vast number of people, we say mass media. Local media
refers to, for example, your local newspaper or local/regional TV/radio channels.
Imagined Community, Anderson interpellated that this procedure was often essential to
the creation of the nation-state, where various groups of people frequently culturally,
ethnically, and geographically disparate.
The imagined community is sovereign because its legitimacy is not derived from divinity
as kingship is—the nation is its authority, it is founded in its name, and it invents its
people, which it deems citizens
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The most famous samples of what we can call the individual's visual interpellation as a
member of a nation-state are the Roland Barthes’ analysis, in Mythologies, of a
photograph from the French magazines Paris-Match. (Refer to the picture above and
Reading Visual PDF pp. 170-172)
(A)
(B)
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Lefort’s point is not that the mass media simply take on the task of circulating and
reinforcing these capitalized ideas.
The go-to tools of communication for most of the 20 th century were landline telephones.
But now, in the 21st century or the contemporary period, cellular phones, radio, TV,
newspaper, and magazines. The internet changed all that. It atomized the information
ecosystem and shook up the economy, politics, and culture.
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Self-Help:You can also refer to the sources below to help you further understand
the lesson.
https://www.merriam-webster.com/dictionary/spectacle
Kellner, D. (2004). Media culture and the triumph of the spectacle. Retrieved May
11, 2020 from www.razonypalabra.org.mx
Schirato, T. & Webb, J. (2004). reading the visual. Retrieved April 15, 2020, from
https://monoskop.org/images/1/15/SchiratoTony
Koh, A.(2016). American Association of University Professors. Imagine
a community, social media, and the faculty. Retrieved May 11, 2020
https://www.aaup.org/article/imagined-communities-social-media-and
faculty#.XstY22gzbIU
Let’s Check
Activity A: Vocabulary Enrichment. Arrange the following jumbled letters to form a
workable word. You are guided by definition.
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Answer:
Answer:
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Let’s Analyze
Activity A. From the most recognizable national icons, give the meaning or the message
that you read from them. Your answer should be in paragraph form and observe proper
writing mechanics.
1.
Answer:
2.
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Answer:
3.
Answer:
P
hilippine Carabao
4.
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Australia Kangaroo
Answer:
Activity B: Scrutinize the two pictures properly. How do they express society's spectacle and
architectural design?
1.
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Answer:
2.
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Answer:
In a Nutshell
Activity A. Based on the topics presented in the Metalanguage and Essential Knowledge
sections, write the things you have learned.
1. ______________________________________________________________________
2. ______________________________________________________________________
3. ______________________________________________________________________
Q & A-List
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Questions/Issues Answers
Keywords Index
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Values, specifically in the adherence to intellectual honesty and integrity; academic
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Reviewed by:
Approved by:
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