There are three ways of introducing quotes to prevent them from being free-standing.
1. Use a simple introductory phrase, like "According to" or "So-and-so argues." This method emphasizes the author, so a writer would use this when he or she wants to emphasize the person as an expert or someone offering testimony.
Here's an example.
According to Siegfried Kracauer, "While time is not part of the photograph like the smile or the chignon, the photograph itself, so it seems to them, is a representation of time" (424).
2. Write your own sentence, then use a quote (introduced with a colon) that functions as evidence or demonstration of your sentence's ideas. Be sure your sentence is a complete sentence; otherwise, the sentence becomes a fragment. This method works most effectively for using source material as evidence for the writer's own claims.
Here's an example.
In certain ways, a photograph functions as a more reliable witness than our own memory: "Memory encompasses neither the entire spatial appearance nor the entire temporal course of an event. Compared to photography memory's records are full of gaps" (Kracauer 425).
3. Instead of introducing the entire quote, integrate pieces (words, phrases, or clauses) into the context of the writer's own syntax. This method works best to synthesize ideas and to create a smooth flow.
Here's an example.
When we reduce our experience of the world to collecting photographs, we become guilty of the "warehousing of nature" (Kracauer 435) and loved ones in dusty albums as forgotten souvenirs.
Your assignment:
A. Read either (your choice) Roland Barthes’s “Rhetoric of the Image” or Andre Bazin’s “The Ontology of the Photographic Image.”
B. Find three interesting quotes.
C. Introduce those three quotes using the above methods.
Quick question: when we introduce the three quotes, are we using every method on each individual quote? Or are we to pick a method for each of the quotes?
ReplyDeleteMolly, your second interpretation is correct: pick a different method for each of the three quotes you've chosen.
DeleteIn the past, art was used primarily for the purpose of religion, but "it is no longer a question of survival after death, but of a larger concept, the creation of an ideal world in the likeness of the real, with its own temporal destiny" (Bazin, 6). Images are now used beyond the realm of the afterlife; they are used to recreate the aspects of our lives that we cannot perfect. They allow us to alter realty into which we desire.
ReplyDeleteAccording to Andre Bazin, "Originality in photography as distinct from originality in painting lies in the essentially objective character of photography" (7).
Photography portrays real objects in a way that other visual arts do not - it allows us to capture a "phenomenon in nature" (Bazin 7) and reveal it to the rest of the world.
Photographers have the power and ability to sway the significance of a photo; “The personality of the photographer enters into the proceedings only in his selection of the object to be photographed and by way of the purpose he has in mind” (Bazin 7).
ReplyDeleteAlthough humans are judgmental in nature, André Bazin states that with photography, “we are forced to accept as real the existence of the object reproduced, actually represented, set before us, that is to say, in time and space” (8).
Regardless of “how fuzzy, distorted, or discolored” a photograph may be, it is a duplication…a representation of the photographer’s experience (Bazin 8).
1. According to Bazin, "The evolution, side by side, of art and civilization has relieved the plastic arts of their magic role" (Bazin 6).
ReplyDelete2. While art has a sort of personal reflection, "Photography can even surpass art in creative power" (8).
3. Photography embodies "the fashion of a fingerprint", moreso than any type of self-expression (8).
For the 3rd one, I realize I should have put the (8) between the"..." and , moreso... Sorry about that one, Professor. There's no edit button.
Delete1. According to Roland Barthes, “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” (269).
ReplyDelete2. If we read and understand our photography, we should than see three messages: “If our reading is satisfactory, the photograph analysed offers us three messages: a linguistic message, a coded iconic message, and a non-coded iconic message” (Barthes 272).
3. The Images we see are “Penetrated through meaning in the same way as man is articulated to the depths of his languages” (Barthes 280).
1. Roland Barthes states that, “Polysemy poses a question of meaning and this question always comes through as dysfunction, even if this dysfunction is recuperated by society as a tragic (silent, God provides no possibility of choosing between signs) or a poetic (the panic 'shudder of meaning' of the Ancient Greeks) game” (274).
ReplyDelete2. Every image, even the most innocent or literal picture, can have multiple meanings: “This evictive state naturally corresponds to a plentitude of virtualities: it is an absence of meaning full of all the meanings” (Barthes 276).
3. A full image consists of many connotators but it is important to also recognize that there are still dennoted “scattered traits” (Barthes 282) in the image.
Veronica, in your first sentence, you shouldn't use both "that" and the comma; choose one or the other (the "that" could replace the comma).
Delete1. According to Roland Barthe, “Nor are linguists the only ones to be suspicious as to the linguistic nature of the image; general opinion too has a vague conception of the image as an area of resistance to meaning- this is the name of the certain mythical idea of Life: the image is re-presentation, which is to say ultimately resurrection, and, as we know, the intelligible is reputed antipathetic to lived experience” (269).
ReplyDelete2. Throughout history we see that people have often associated books with pictures whether they be text books or fictional: “From the moment of the appearance of the book, the linking of text and image is frequent, though it seems to have been studied from a structural point of view”(Barthe, 273).
3. One difference between “literal message and the symbolic message” (Barthe, 276) is that in a literal message it is something one would consider relational.
Sarah, be sure to spell the author's last name correctly, and in your second sentence, use a comma after "history."
Delete1. According to Barthes, “If our reading is satisfactory, the photograph analysed offers us three messages: a linguistic message, a coded iconic message, and a non-coded iconic message” (272).
ReplyDelete2. As a people, we have evolved beyond the simplistic use of a basic image to convey our messages, we are now a “civilization of writing” (Barthes 274), incorporating image and text to ensure clear understanding.
3. The mind is tricked by the image in a photograph; we imagine a previous encounter with the depicted scene: “The type of consciousness the photograph involves is indeed truly unprecedented, since it establishes not a consciousness of being-there of the thing…but an awareness of its having-been-there” (Barthes 278).
1. According to Andre Bazin, "The photographic image is the object itself, the object freed from the conditions of time and space that govern it" (8).
ReplyDelete2. Unlike previous art forms such as those of painters, a photographer does not make the photo, the photo makes the photographer: "The personality of the photographer enters into the proceedings only in his selection of the object to be photographed and by way of the purpose he has in mind" (Bazin, 7).
3. The beauty of photography is it "affects us like a phenomenon in nature" (Bazin, 7), as it allows us to capture distinct moments in time in order to view later and pull us into those raw emotions felt the very first time.
1. According to Bazin, "Photography and the cinema on the other hand are discoveries that satisfy, once and for all and in its very essence, our obsession with realism"(7).
ReplyDelete2. Photography is unique from the other arts in the sense that it requires the least amount of input from man but makes a powerful impact: "Photography affects us like a phenomenon in nature, like a flower or a snowflake whose vegetable or earthly origins are an inseparable part of their beauty"( Bazin, 7).
3. Photography has the distinct ability to "lay bare the realities" (Bazin, 8) of a scene. What is photographed is a true depiction of what was there.
1. According to Andre Bazin, “Today the making of images no longer shares an anthropocentric, utilitarian purpose” (6).
ReplyDelete2. When three- dimensional painting was discovered the original purpose of painting which was “the expression of spiritual reality wherein the symbol transcended its model”, became “purely psychological, namely to duplicate the world outside” (6).
3. The creation of cameras has affected the way we view images now: “This production by automatic means has radically affected our psychology of the image” (7).
Andreina, put a comma after "discovered" in your second sentence.
Delete1. According to Barthes “Anchorage is the most frequent function of the linguistic message and is commonly found in press photographs and advertisements” (275).
ReplyDelete2. An image can have a certain meaning to the photographer but “As will be seen more clearly in a moment, all images are polysemous; they imply, underlying their signifiers, a ‘floating chain’ of signifieds, the reader able to choose some and ignore others” (Barthes 274).
3. At times there can be many meanings to images, therefore titles or descriptions that “helps identify purely and simply the elements of the scene” (Barthes 274) are provided so that viewers have insight to the photographers meaning of the image.
Jasmine, be sure to use a comma after "Barthes" in your first sentence.
DeleteYour second sentence should have a comma between "photographer" and "but."
Your third sentence is a comma splice that you should fix like this:
At times, there can be many meanings to images; therefore, a title or description that “helps identify purely and simply the elements of the scene” (Barthes 274) is provided so that viewers have insight to the photographers meaning of the image.
1. According to Bazin, “For the first time an image of the world is formed automatically, without the creative intervention of man. The personality of the photographer enters into the proceedings only in his selection of the object to be photographed and by way of the purpose he has in mind. Although the final result may reflect something of his personality, this does not play the same role as is played by that of the painter” (7).
ReplyDelete2. Everyone wants to have an exact replica of an even or a moment and not just a painting where the moment is not captured: “Only a photographic lens can give us the kind of image of the object that is capable of satisfying the deep need man has to substitute for it something more than a mere approximation, a kind of decal or transfer” (Bazin 8).
3. When discussing the differences between photography and art, photography can be said to have more “creative power “ (Bazin 8).
1. According to André Bazin, "The personality of the photographer enters into the proceeding only in his selection of the object to be photographed and by way of the purpose he has in mind" (7).
ReplyDelete2. As we progress in both art and as a society, we find we do not use art in the same ways as we had in the past: "The evolution, side by side, of art and civilization has relieved the plastic arts of their magic role" (Bazin 6).
3. Long ago, an artist's work was burdened with "inescapable subjectivity" (Bazin 7) no matter how well they could paint other things.
1. According to Barthes " Anchorage is the most frequent function of the linguistic message and is commonly found in press photographs and advertisements"( 275).
ReplyDelete2. Photographs can have more than just one underlying point: "...Photograph analysed offers us three messages: Linguistic message, a coded iconic message, and a non-coded iconic message" (272).
3. A photograph needs to be interpreted with all of the " different messages it contains"(270)to get the full idea behind the picture.
Sukhjinder, be sure to use a comma after "Barthes" in your first sentence.
DeleteNo matter the level of skill a painter may possess, his/her work is liable to be viewed as subjective instead of realistic. “The fact that a human hand intervened cast a shadow of doubt over the image.” (pg.7)
ReplyDeleteAccording to Andre Bazin’s “ The personality of the photographer enters into the proceedings only in his selection of the object to be photographed and by way of the purpose he has in mind. (pg.7)
Painters are “torn between two ambitions” (pg.6), but great artists are able to combine aesthetic and psychological aspects into their art.
Shawanda, your first sentence has a free-standing quote. To fix it, change the period after "realistic" to a colon.
DeleteYou will also need to cite the author's name in the first sentence.
Are you using MLA? If so, you should not use "pg." Are you using APA? If so, you would need to give the year and change the "pg" to just "p."
Here's your first sentence in correct MLA.
No matter the level of skill a painter may possess, his/her work is liable to be viewed as subjective instead of realistic: “The fact that a human hand intervened cast a shadow of doubt over the image” (Bazin 7).
1. According to Roland Barthes, “Today, at the level of mass communications, it appears that the linguistic message is indeed present in every image: as title, caption, accompanying press article, film dialogue, comic strip balloon” (274).
ReplyDelete2. Connections between texts and pictures are highly common now: “In order to find images given without words, it is doubtless necessary to go back to partially illiterate societies, to a sort of pictographic state of the image” (Barthes 273).
3. While images are represented in several ways, those used in advertisement convey messages that are “undoubtedly intentional” (Barthes 270) and made with forethought.
1. According to Andre Bazin, “No one believes any longer in the ontological identity of model and image, but all are agreed that the image helps us to remember the subject and to preserve him from a second spiritual death”. (5)
ReplyDelete2. In many ways photography can tell a story with a simple click of a button creating a picture which can be valued by many people. For years photography has been one of the best ways to create art and in fact; “photography can even surpass art in creative power” (A. Bazin 8)
3. A photograph that has a lot of meaning to someone and will be so valuable “no matter how fuzzy, distorted, or discolored, no matter how lacking” (A. Bazin 8) it is, all the loved ones will cherish that picture because of its meaning to them.
Jose, make sure the peiod in #1 and #2 goes outside the parenthetical citation:
Deletedeath" (5).
Ok, thanks.
DeleteExample 1)
ReplyDeleteAccording to André Bazin, "The aesthetic world of the painter is of a different kind from that of the world about him" (8).
Example 2)
In some respects, photography is a biased art form: "The personality of the photographer enters into the proceedings only in his selection of the object to be photographed and by way of the purpose he has in mind" (Bazin 7).
Example 3)
There is a certain beauty in vintage photography, from the limited colour pallete to the "phantomlike and almost undecipherable [shading]" (Bazin 8) characteristic of early imaging techniques.
Example 1
ReplyDeleteAccording to Andre Bazin, "No matter how skillful the painter, his work was always in fee to an inescapable subjectivity" (7).
Example 2
In a way, photography replaced the aspect of realism in paintings: "Photography and the cinema on the other hand are discoveries
that satisfy, once and for all and in its very essence, our obsession with realism" (Bazin 7).
Example 3
Paintings produced by man always "cast a shadow of doubt" (Bazin 7) over its realism.
Example 1:
ReplyDeleteAccording to Roland Barthes, "this utopian character of denotation is considerably reinforced by the paradox already mentioned, that the photograph (in its literal state), by virtue of its absolutely analogical nature, seems to constitute a message without a code" (277).
Example 2:
Throughout history pictures have adapted into motion pictures that contain different types of linguistics: "title, caption, accompanying press article, film dialogue, comic strip balloon" (Barthes 274).
Example 3:
Some images can be very difficult to fully understand but there are four signs you can look for and look into that will "form a coherent whole" (Barthes 271) of the image.
Emily, with #2, there should be a comma after "history" since you are beginning the sentence with an introductory phrase.
DeleteWith #3, there should be a comma after "understand" since you are writing a compound sentence made up of two independent clauses joined by the coordination conjunction "but"
1. According to Andre Bazin’s, “The evolution, side by side, of art and civilization has relieved the plastic arts of their magic role” (6).
ReplyDelete2. Images serve many purposes, but mostly are used to preserve a memory or a special place: “No one believes any longer in the ontological identity of model and image, but all are agreed that the image helps us to remember the subject and to preserve him from a second spiritual death” (Bazin 6).
3. There is a big difference between paintings and photographs, one being that in photographs you are “holding reality” (Bazin 6) by not altering the image, where as in paintings you are “molding it at will” (Bazin 6) which means you can alter the image any way you please.
Noemi, with #1, there should be no possessive apostrophe in the author's name.
Delete1.According to André Bazin, “It is true that painting, the world over, has struck a varied balance between the symbolic and realism” (6).
ReplyDelete2.The Photographer can choose any object to photograph but will only focus in one specific: “The personality of the photographer enters into the proceedings only in his selection of the object to be photographed and by way of the purpose he has in mind” (7).
3.The majority of photography are “natural creation” (Bazin 8) because it does not try to a have any particular unrealistic caption.
Mauro, you would use phrase "the majority of" when you are referring to things you can count, like photographs. If you are referring to things that are uncountable, like photography, you shoud use "most": "Most photography is ..."
DeleteAs stated in Andre Bazin’s article, “A very faithful drawing may actually tell us more about the model but despite the promptings of our critical intelligence it will never have the irrational power of the photograph to bear away our faith” (8).
ReplyDeletePhotographs can have a huge impact on visual power in which it can construct thousands of significant meanings: “Photography can even surpass art in creative power” (Bazin 8).
When we have a variety of creative arts in society, it creates “liberation and an accomplishment” (Bazin 9) from the debate of realism.
Claire, avoid constructing sentences with the "As stated" opening; this can lead to confustion: Did Bazin state it? Did someone else?
DeleteInstead, just write "As Andre Bazin states..."
1) According to Bazin, "all art are based on the presence of man, only photography derives an advantage from his absence"(7).
ReplyDelete2) Photography can have the ability to create an identity from other images: "The photograph as such and the object in itself share a common being, after the fashion of a fingerprint."(Bazin 8).
3) A simple characteristic in nature, "a flower or snowflake" (Bazin 7) can change our perspective on a photograph.
Junior, with #2, there should be no period after "fingerprint"
Delete1. According to Andre Bazin, “Photographt affects us like a phenomenon in nature, like a flower or a snowflake whose vegetable or earthly origins are an inseparable part of their beauty” (7).
ReplyDelete2. Photographs are unique in character based on each photographer’s style: “The personality of the photographer enters into the proceedings only in his selection of the object to be photographed and by way of the purpose he has in mind” (Bazin, 7).
3. Nature itself is art and is not limited to just being art but “imitates the artist” (Bazin, 8).
Barthes asks the question, " Is it possible to conceive of an analogical 'code' (as opposed to a digital one)" (269).
ReplyDeleteThe author continues his argument further implying photography has no feeling or meaning; "Thus from both sides of the image is felt to be weak in respect of meaning" (Barthes, 269).
Photography has lost its significance through the abuse of advertising by allowing its audience to "choose some and ignore some" photographs (Barthes, 274). Advertisers use as many images as it takes to grab the largest audience possible. To the audience most of these images are irrelevant.
1. According to Bazin, "A very faithful drawing may actually tell us more about the model but despite the promptings of our critical intelligence it will never have the irrational power of the photograph to bear
ReplyDeleteaway our faith." (8)
2. Photography has the capability to capture reality: "Photography and the cinema on the other hand are discoveries that satisfy, once and for all and in its very essence, our obsession with realism." (Bazin 8)
3. A photograph reveals the personality of the photographer through its art form similar to that of a painter. Instead of displaying his personality through colors and strokes, the personality of a painter is demonstrated through his skills and mind (Bazin 7).