An analysis of selected cartoons published during Zimbabwe's 2008 elections
- Authors: Mushohwe, Knowledge
- Date: 2011
- Subjects: Zimbabwe. Parliament -- Elections, 2008 , World politics Caricatures and cartoons , Editorial cartoons -- Zimbabwe , Zimbabwe -- Politics and government -- 20th century , Mass media -- Law and legislation -- Zimbabwe , Freedom of speech -- Zimbabwe
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: vital:8493 , http://hdl.handle.net/10948/1609 , Zimbabwe. Parliament -- Elections, 2008 , World politics Caricatures and cartoons , Editorial cartoons -- Zimbabwe , Zimbabwe -- Politics and government -- 20th century , Mass media -- Law and legislation -- Zimbabwe , Freedom of speech -- Zimbabwe
- Description: During Zimbabwe’s 2008 harmonised elections the country’s media laws had a direct impact on the way editorial cartoonists expressed themselves. Although the online newspapers were unregulated and the print media published under Zimbabwe’s media laws, Public Order and Security Act and Access to Information and Protection of Privacy act - the editorial cartoons from both sources show deliberate bias towards one candidate and contempt towards the main rival. The study contextualises the understanding of the editorial cartoon, as practised in an environment of freedom of speech and defined by the four categories identified by Press (1981) and Manning and Phiddian (2004), and delineates the effect of media laws on the newspaper industry in Zimbabwe. The four categories of editorial cartoons identified are descriptive editorial cartoons, laughing satirical editorial cartoons, destructive satirical editorial cartoons, and savage indignation editorial cartoons. The study reviews eight editorial cartoons, read using a semiotic framework investigating non-verbal communication, as defined and suggested by Du Plooy (1996), and a text and language grid, as suggested by Leech (1974), according to the criteria of symbols/metaphors, exaggeration/distortion, stereotypes, caricature, irony, captions, and background knowledge, as developed by Fetsko (2001). A comparative analysis of the cartoons reveals that objectives and functions of the unregulated zimonline.co.za and the regulated the Herald newspapers are the same. They constitute propagandistic representations of Zimbabwean politics that are more an extension of political ideology than they are a reflection of the country’s sociopolitical landscape.
- Full Text:
- Date Issued: 2011
- Authors: Mushohwe, Knowledge
- Date: 2011
- Subjects: Zimbabwe. Parliament -- Elections, 2008 , World politics Caricatures and cartoons , Editorial cartoons -- Zimbabwe , Zimbabwe -- Politics and government -- 20th century , Mass media -- Law and legislation -- Zimbabwe , Freedom of speech -- Zimbabwe
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: vital:8493 , http://hdl.handle.net/10948/1609 , Zimbabwe. Parliament -- Elections, 2008 , World politics Caricatures and cartoons , Editorial cartoons -- Zimbabwe , Zimbabwe -- Politics and government -- 20th century , Mass media -- Law and legislation -- Zimbabwe , Freedom of speech -- Zimbabwe
- Description: During Zimbabwe’s 2008 harmonised elections the country’s media laws had a direct impact on the way editorial cartoonists expressed themselves. Although the online newspapers were unregulated and the print media published under Zimbabwe’s media laws, Public Order and Security Act and Access to Information and Protection of Privacy act - the editorial cartoons from both sources show deliberate bias towards one candidate and contempt towards the main rival. The study contextualises the understanding of the editorial cartoon, as practised in an environment of freedom of speech and defined by the four categories identified by Press (1981) and Manning and Phiddian (2004), and delineates the effect of media laws on the newspaper industry in Zimbabwe. The four categories of editorial cartoons identified are descriptive editorial cartoons, laughing satirical editorial cartoons, destructive satirical editorial cartoons, and savage indignation editorial cartoons. The study reviews eight editorial cartoons, read using a semiotic framework investigating non-verbal communication, as defined and suggested by Du Plooy (1996), and a text and language grid, as suggested by Leech (1974), according to the criteria of symbols/metaphors, exaggeration/distortion, stereotypes, caricature, irony, captions, and background knowledge, as developed by Fetsko (2001). A comparative analysis of the cartoons reveals that objectives and functions of the unregulated zimonline.co.za and the regulated the Herald newspapers are the same. They constitute propagandistic representations of Zimbabwean politics that are more an extension of political ideology than they are a reflection of the country’s sociopolitical landscape.
- Full Text:
- Date Issued: 2011
Reviewing medium: paint as flesh
- Authors: Fuller, Michele
- Date: 2011
- Subjects: Figure painting -- Exhibitions , Human figure in art -- Exhibitions , Anatomy, Artistic -- Exhibitions , Cadaver in art -- Exhibitions
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: vital:8532 , http://hdl.handle.net/10948/d1008590 , Figure painting -- Exhibitions , Human figure in art -- Exhibitions , Anatomy, Artistic -- Exhibitions , Cadaver in art -- Exhibitions
- Description: The research question explored in this exhibition and dissertation was to review the conventional notions of craftsmanship and the use of the specific medium of oil paint with reference to the art of Rembrandt and Damien Hirst. The subject matter is flesh. This study foregrounds the involvement and acknowledgment of the corporeal body, the hand of the artist, and of the organic material reality of our existence and the objects that surround us. The paintings reflect a series of interventions that resulted in abstracted images based on photographs of meat. Once a detail had emerged that emphasised the fleshiness of the selected image, it was printed by a professional printing company. These details were then translated into oil paintings. What is explored is the specific material qualities of the binding mediums traditionally associated with the use of oil painting to create expressive paintings. In the creation of the series of paintings, I prepared binding mediums consisting of wax, stand oil, damar varnish, zel-ken liquin and acrylic paste medium mixed with manufactured readymade oil paints. Consequently the choice and exploration of the material possibilities of a specific medium becomes content, using art to explore the idea of art. Paint becomes flesh-like, having congealed over the surface of the technical support. These paintings propose an internal and an external reality simultaneously referenced through the flesh-like surface, pierced and cut to reveal multiple layers created on the supporting structure (wood and canvas) with the use of a specific medium, oil paint, combined with a variety of other binding mediums. The edges of the unframed paintings play an important role assuming a specific physical presence, enabling them to define themselves as boundaries, both of the paintings particular field of forces and of the viewer’s aesthetic experience. They are no longer edges or frames in the conventional sense, but become other surfaces that are of equal significance in the reading or viewing of the work. Finally, the notion of an exhibition site being neutral or given is contested and, as a result, the contemporary artist needs to be mindful of site specificity in relation to the exhibition of the artworks. This series of paintings is intended to communicate as a body of work, reflecting an individual vision: a recurring, introspective process that is always unfolding. The body is constantly recreated by each individual viewer, and the context or site of display. The artist’s intention is to activate the viewer’s heightened awareness and response to the conscious arrangement of the collection of canvases, as each one represents a fragment or detail of a flayed carcass.
- Full Text:
- Date Issued: 2011
- Authors: Fuller, Michele
- Date: 2011
- Subjects: Figure painting -- Exhibitions , Human figure in art -- Exhibitions , Anatomy, Artistic -- Exhibitions , Cadaver in art -- Exhibitions
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: vital:8532 , http://hdl.handle.net/10948/d1008590 , Figure painting -- Exhibitions , Human figure in art -- Exhibitions , Anatomy, Artistic -- Exhibitions , Cadaver in art -- Exhibitions
- Description: The research question explored in this exhibition and dissertation was to review the conventional notions of craftsmanship and the use of the specific medium of oil paint with reference to the art of Rembrandt and Damien Hirst. The subject matter is flesh. This study foregrounds the involvement and acknowledgment of the corporeal body, the hand of the artist, and of the organic material reality of our existence and the objects that surround us. The paintings reflect a series of interventions that resulted in abstracted images based on photographs of meat. Once a detail had emerged that emphasised the fleshiness of the selected image, it was printed by a professional printing company. These details were then translated into oil paintings. What is explored is the specific material qualities of the binding mediums traditionally associated with the use of oil painting to create expressive paintings. In the creation of the series of paintings, I prepared binding mediums consisting of wax, stand oil, damar varnish, zel-ken liquin and acrylic paste medium mixed with manufactured readymade oil paints. Consequently the choice and exploration of the material possibilities of a specific medium becomes content, using art to explore the idea of art. Paint becomes flesh-like, having congealed over the surface of the technical support. These paintings propose an internal and an external reality simultaneously referenced through the flesh-like surface, pierced and cut to reveal multiple layers created on the supporting structure (wood and canvas) with the use of a specific medium, oil paint, combined with a variety of other binding mediums. The edges of the unframed paintings play an important role assuming a specific physical presence, enabling them to define themselves as boundaries, both of the paintings particular field of forces and of the viewer’s aesthetic experience. They are no longer edges or frames in the conventional sense, but become other surfaces that are of equal significance in the reading or viewing of the work. Finally, the notion of an exhibition site being neutral or given is contested and, as a result, the contemporary artist needs to be mindful of site specificity in relation to the exhibition of the artworks. This series of paintings is intended to communicate as a body of work, reflecting an individual vision: a recurring, introspective process that is always unfolding. The body is constantly recreated by each individual viewer, and the context or site of display. The artist’s intention is to activate the viewer’s heightened awareness and response to the conscious arrangement of the collection of canvases, as each one represents a fragment or detail of a flayed carcass.
- Full Text:
- Date Issued: 2011
The influence of 1950s fashion photographers, Richard Avedon and Irving Penn, on photographers Matthew Rolston and Steven Meisel
- Authors: Cordier, Astrid
- Date: 2011
- Subjects: Fashion photpgraphy , Photographers -- United States
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: vital:8496 , http://hdl.handle.net/10948/d1008112 , Fashion photpgraphy , Photographers -- United States
- Description: Photography has been used to record and document periods in time, which Wells (2001:19) acknowledges by stating that, “…photographs are records and documents which pin down the changing world of appearance”. Richard Avedon and Irving Penn made a significant contribution to fashion photography during the 1950s but this has seldom been explored in a scholarly way. By defining the characteristics of Avedon and Penn’s work, a possible understanding of their influence on contemporary fashion photographers, Matthew Rolston and Steven Meisel may be determined and so expand on the understanding of the contribution of Avedon and Penn to contemporary fashion photography. Avedon, Penn, Rolston and Meisel’s fashion photographs will be visually analysed to show the similarities and the relevance of 1950s fashion photography to contemporary fashion photography. Paul Martin Lester’s (2003) method of visual analysis will be used as the basis for this analysis. The reason for choosing Lester’s methods of visual analysis is that it can be applied to all fields of visual art and design. Contemporary fashion photography draws on many different stylistic devices and periods in history for its re-invention, so it is important to understand what constitutes the defining characteristics of a stylistic period in history to be able to revisit it in contemporary photography.
- Full Text:
- Date Issued: 2011
- Authors: Cordier, Astrid
- Date: 2011
- Subjects: Fashion photpgraphy , Photographers -- United States
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: vital:8496 , http://hdl.handle.net/10948/d1008112 , Fashion photpgraphy , Photographers -- United States
- Description: Photography has been used to record and document periods in time, which Wells (2001:19) acknowledges by stating that, “…photographs are records and documents which pin down the changing world of appearance”. Richard Avedon and Irving Penn made a significant contribution to fashion photography during the 1950s but this has seldom been explored in a scholarly way. By defining the characteristics of Avedon and Penn’s work, a possible understanding of their influence on contemporary fashion photographers, Matthew Rolston and Steven Meisel may be determined and so expand on the understanding of the contribution of Avedon and Penn to contemporary fashion photography. Avedon, Penn, Rolston and Meisel’s fashion photographs will be visually analysed to show the similarities and the relevance of 1950s fashion photography to contemporary fashion photography. Paul Martin Lester’s (2003) method of visual analysis will be used as the basis for this analysis. The reason for choosing Lester’s methods of visual analysis is that it can be applied to all fields of visual art and design. Contemporary fashion photography draws on many different stylistic devices and periods in history for its re-invention, so it is important to understand what constitutes the defining characteristics of a stylistic period in history to be able to revisit it in contemporary photography.
- Full Text:
- Date Issued: 2011
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