Analysis
Visual Communication
?rebro University
Spring 2019
Assimakis Tseronis
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Inhaltsverzeichnis
1. Introduction ………………………….. ………………………….. ………………………….. ………………………….. … 2
2. Theoretical framework ………………………….. ………………………….. ………………………….. …………….. 2
2.1. Visual markers of modality ………………………….. ………………………….. ………………………….. ….. 2
2.1. Social actors and representation ………………………….. ………………………….. ……………………… 3
3. Analysis ………………………….. ………………………….. ………………………….. ………………………….. ……… 4
3.1. Modality and colour ………………………….. ………………………….. ………………………….. …………….. 5
3.2. Social actors and representation ………………………….. ………………………….. ……………………… 5
4. Conclusion ………………………….. ………………………….. ………………………….. ………………………….. …. 6
5. Reference list ………………………….. ………………………….. ………………………….. …………………………. 7
6. Appendix ………………………….. ………………………….. ………………………….. ………………………….. ……. 8
6.1. poster motif: domestic violence ………………………….. ………………………….. ………………………… 8
6.2. poster motif: violence to uphold family honour ………………………….. ………………………….. …. 9
6.3. poster motif: genital mutilation ………………………….. ………………………….. ……………………….. 10
6.4. poster motif: abduction/trafficking in human beings ………………………….. …………………….. 11
6.5. poster motif: stoning ………………………….. ………………………….. ………………………….. ………….. 12
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1. Introduction
Violence against women and girls remains the most frequent human rights violation
worldwide (Bundeszentrale f?r Politische Bildung, 2014). According to a study by the FRA
(European Union Agency for Fundamental Rights, 2014), at least one in three women
worldwide fall victim to physical and/or sexual violence in the course of their lives.
The WHO
identifies violence against women as one of the greatest health risks for women worldwide
(as cited in Bundeszentrale f?r Politische Bildung, 2014) .
The non -profit women’s rights organization Terre des Femmes (French, translation:
Women’s Earth) has been working since 1981 for the protection of human rights of women
(Terre des femmes , n.
d.) . Their campaign “”Violence against women is everyday life”” from
2017 consisted of TV spots and 5 different poster motifs which show different types of
violence.
For this analysis, the poster on domestic violence was chosen because of physical
violence by a trusted partner is the most common form of violence against women worldwide.
In addition, this motif stands out from the campaign. The reasons for this are wor ked out in
the following analysis.
2. Theoretical framework
First, however, an overview is given of the various aspects based on which visual media
can be analysed and which appear meaningful for this concrete example.
2.1. Visual markers of modality
T he term modality comes from linguistics and refers to the truth value or credibility
of / / statements about the world (Kress & Van Leeuwen, 2006, p.155). The concept of
modality is also important for visual communication.
Kress and van Leeuwen (2006) state tha t there are eight modality markers to rank the
perceived realistic of visual media. The markers are scales that run from high to low
modality, much like the scales from certain to uncertain with probable in between
(Machin, 2007, p.48).
The first scale ranks the degree of articulation of detail and runs from maximum
detail to maximum abstraction (Machin, 2007, p.48). It evaluates whether it would have
looked the same if we had seen the situation ourselves. Degrees of articulation of t he
background also looks at detail s, but the detailedness of the background. Backgrounds
might be ranging from a blank space, via / / out -of-focus backgrounds, to maximally
shaped (Machin, 2007, p. 51). The marker articulation of depth assesses the depth of the
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image and ranges from a deep perspective to the absence of perspective (Machin, 2007,
p.52). The fourth marker degrees of illumination – evaluates the closeness to reality
based on the naturalness of light and shadow. An image without shadows or with unnatural
lighting conditions has a low modality (Machin, 2007, p.53).
The next four markers thematize the colours of pictures. Articulation of tone thereby
looks at whether the colours in the image have a range of differences in tones / / or
whethe r we find only simple polarities of dark and bright (Machin, 2007, p.54). The degree
of colour modulation is a scale running from fully modulated colour, with, for example, the
use of many different shades of red, to plain, unmodulated colour (Krees and van Leeuwen,
2006, p.160). So , the scale rates if the picture shows natural colour variations (Machin, 2007,
p.54). How full and rich colours appear (Machin, 2007, p.54) is rated with degrees of
colour saturation . It can variate from full -colour saturat ion to only using black and white
(Krees & van Leeuwen, 2006, p.160). The last scale – colour differentiation – evaluates how
many colours are available (Machin, 2007, p. 56) .
2.1. Social actors and representation
In addition to the realistic, the type of representation of the persons in the picture is
meaningful. For example, persons, animals, etc. can be represented individualised or
collectivised . This choice “”is important for the connection of the viewer to the interests and
experiences of the participants”” (Machin, 220, p.118).
Furthermore, it must be considered whether and according to which aspects the
persons have been categorised . “”These are resources for informing the observer which
types of participants a re involved”” (Machin , 2007, p.118 ) and relevant for whether the viewer
can identify with these persons. In this context, a distinction is made between biological or
cultural aspects. Cultural categorisation is realised through standard attributes of ha irstyle ,
adornment etc. (Machin, 2007, p.120). Biological categorisation is achieved by highlighting
stereotypical features (Machin, 2007, p.121) .
Next, the actions of the persons in the picture are also significant. There are six
differen t processes to distinguish : material, behavioural, mental, verbal, relational and
existential . Material is when the person is doing something in the world that has a material
result (Machin, 2007, p.128) like building a house. Behavioural is the counterp art an act
without material outcome. Mental includes processes like thinking, evaluating, sensing
(Machin, 2007, p.128 ) and if t he person in the picture speaks , it is a verb al process (Machin,
2007, p.124). Relational processes are where people are represented as being like, or
different to, something else (Machin, 2007, p.124). Existential processes are shown if
people are represented simply in a state of ex isting, appearing (Machin, 2007, p.124).
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Besides the question “”How are p articipants represented””, the non -representation of
persons or objects also plays an effective role. This can be for example “”a way to hide the
responsibility for actions or to remove the role of some participants”” (Machin, 2007, p.121).
And whats more, the relationships between the groups – the persons presented and
the interactive participants – are relevant for the analysis (Machin, 2007) . Special i mportance
is attached to the achieved interaction of the representation with the viewer. A direct gaze of
the persons depicted into the eyes of the observer acts as a demand of information or
services , while an indirect gaze acts as an offer of service or information (Machin, 2007,
p.110) . The size of the frame depicts social distance and ranges from close -up , via medium
to long -shot. It can suggest intimacy or remoteness (Machin, 2007) . The perspective makes
the attitude towards the person depicted clea r. A distinction can be made between an
objective and a subjective perspective (Machin, 2007) .. The angle of the shot also has an
impact on the relationship to the observer (Machin, 2007) . The horizontal variation from
frontal to side creates involvement and the vertical angle of high, eye level or low has an
influence on the balance of power . If someone is shown at the same level / / equality is
implied (Machin, 2007, p.115).
3. Analysis
At first sight, t he poster shows a gorgeous woman without clothes, but part of her face is
hidden through a crack in the poster . The background is almost monochrome. Apart from
the woman, only the logo of a women’s rights organisation and a slogan are printed on the
poster. It is written there in German: Every fourth woman is a victim of violence. Imagine a
country where millions of women are regularly beaten, abused and raped. Welcome to
Germany.
If one considers the slogan and the initiators of the posters, it becomes clear that the
rupture of the poster is supposed to represent bruises on the woman’s cheek. Th ere two
reasons for this type of visualization . First, it represent s a “”light”” version of showing injuries
and could have been selected to not dramatize the subject. Further, this type of design may
have been chosen to follow the journalistic -ethical principles of the German Press Code
which also contains journalistic principles for reporting accidents and disasters (Press
Council, 2017). Accordi ngly, reporting finds its limits in respect for the suffering of victims and
the feelings of relatives. “”Those affected by the disaster must not be allowed to become
victims a second time through the depiction”” (Presserat, 2017, p. 27). This principle for the
protection of victims is also largely followed in campaigns by human rights organisations.
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3.1. Modality and colour
Let us now move on to a more detailed analysis. As explained before , there are 8
modality markers to anal yse the realistic of visual communication media such as posters. In
total, this picture has a medium modality.
The f oreground is shown very detailed . It creates a very realistic and natural
representation of the woman. In contrast to this, the background is blurred and monochrome.
It does not give the impression of a certain setting of the situation. In the interaction with it,
the picture also shows a low depth. It consists of two parts. The level of the woman, the
slogan and the logo and the monochrome background. All the points ad dressed so far help
to focus on the injured woman and the slogan.
The i llumination has a high modulation. O ne does not see a source of light, but the
light comes clearly from in front of the womans face and does look natural . The light is
direct ly shinin g at her like a spotlight and enables us to recognize her face expression better.
She shows a brave, strong view of the viewers’ eyes and a minimal smile .
The tone and the colour modulation are also high because all shades between very
dark (almost black) brown and white are present. It’s not in any part of the picture just a plain
colour . This supports the realism. Colour Saturation, on the other hand, has a low modality –
only shades of brown are shown.
Brown is often associated with warmth, earthy, natural, traditional, cosiness.
Presenters, however, are negative associations such as seclusion, dirt and sadness. In this
context, Brown has a dirty effect (e.g. webdesign journal , n.d. , Immoos, 2010 ). The theme of
violence against women and especially domestic violence is here the dirty theme that is
brought into focus.
3.2. Social actors and representation
Besides the modality markers, the decisions for the representation of the woman and
the resulting effects are significant.
If you look at the representation and th e actions in the pictures the women are
generally presented in the same way. They all take place in front of the same background
and the women are posing (cf. image 1 till 5) . That s an existential process. The pictures
depict the women in an individualised way and they are categorised by their sex, by
biological attributes. Not visible – and therefore absent – is the person who caused the
injur ies . One can only see th e consequence s of violence. Also absent are clothes. This
shows the women as vulnerable but also strong because they dont hid e their wounds.
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Although at first sight, the pictures seem similar in terms of the representation and
actions of the women, diffe rences are noticeable when looking at the type of recording and
the resulting relationship to the viewer.
Just like the other pictures, the poster offers us information about violence against
women by the depiction of the woman , her injuries and the slogan and the picture is taken as
a medium -shot . This difference of this motif is the oblique and slightly low angle which puts
the woman in an elevated posit ion, slightly looking down on the viewer. It is a subjective
perspective because you can only see parts of her face and it puts the injuries in the focus to
show that the relevant aspect is not the gorgeous woman. This moti f is the only one showing
the wom an from this angle and with a minimal smile, so she looks militant . This angle
presents the woman not as a victim, but as an affected person who courageously shows
what happened to her in order to draw attention to the subject. This kind of presentation
ma kes it clear that those affected should not be ashamed or keep silent. At the same time,
the view slightly downwards, directly into the eyes of the observer, seems like a demand to
stand up and to act side by side with her against violence against women.
4. Conclusion
Emotional and successful campaigns – like this one – are important to show that,
despite the progress made, women are still at great risk of falling victim to violence. The
issue must be on the public agenda.
The wom en in the foreground, directly in the centre of the light source and the lack of
clothing with which affected women often conceal or cach? injuries, sends a clear message
that the subject should not be hushed up and that affected women do not have to be
ash amed. At the same time, the absence of clothes makes them vulnerable and creates the
feeling of wanting to protect them .
The choice of the monochrome background reinforces the statement that every woman
could everywhere become a victim of violence. This is also supported through the diversity of
the chosen models.
In my opinion, t he artistic depiction of the injuries as cracks in the poster is a successful
way of depicting them without tearing open possible traumas. At the same time, however, it
should be noted that this way of representation can also be perceived as flaws or
imperfection . This impression should certainly not be achieved by the campaign, but it is
important to keep this in mind when dealing with such a sensitive topic.
Overall the picture of domestic violence fulfils the purpose of the campaign most
satisfactorily. The slogan already refers directly to Germany and the widespread attitude that
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only happens to others or elsewhere . Further, the angle of reception and th e facial
expression makes her appear strong and proud . She looks down on the viewer, seems
determined to change the present situation and to bring the subject out of the taboo zone.
At the same time, the slightly low angle creates a relationship with the viewer which, in
contrast to the other motifs, goes beyond offer ing information. It is a demand to act against
violence against women.
5. Reference list
Bundeszentrale f?r politische Bildung (2014). Gewalt gegen Frauen. Available at
-aktuell/196723/gewalt -gegen -frauen -25 -11 -2014
Immoos, F. (2010). Farben. Wahrnehmung Assoziation Psychoenergetik. Retrieved from
-ostwald -schule.de/wp -content/uploads/2010/04/bedeutung –
der -farben.pdf
Kress, G., & Van Leeuwen, T. (2006). Reading images: Th e grammar of visual design , 2 nd
edition. London: Routledge, chapters 4 & 5, pp. 114 -175.
Machin, D. (2007). Introduction to multimodal analysis : London: Bloomsbury.
Webdesign journal (n.D.) Psychologische Wirkung von Farben und Farbkombinationen
[Online]. Retrieved from -journal.de/psychologische -wirkung –
von -farben -farbkombinationen/
Presserat (2017). Publizistische Grunds?tze (Pressekodex). Richtlinien f?r die publizistische
Arbeit nach den Empfehlungen des Deutschen Presserates. Beschwerdeordnung .
Retrieved from
/Pressekodex2017_web.pdf
Terres des femmes (n.d.). ?ber uns. Retrieved from
ueberuns
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6. Appendix
6.1. poster motif: domestic violence
Translation:
Every fourth woman is a victim of violence.
Imagine a country where millions of women are regularly beaten, abused and raped.
Welcome to Germany.
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6.2. poster motif: Violence to uphold family honour
Translation:
In love. Engaged. Burned.
Violence against women is part of everyday life. Help us to change that.
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6.3. poster motif: genital mutilation
Translation:
Every hour, over 300 girls are mutilated.
The idea of having their genitals cut off without anaesthesia is unbearable. Just like the pain
that accompanies them throughout their lives.
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6.4. poster motif: abduction/trafficking in human beings
Translation:
Every minute a woman is abducted.
The abduction victims not only lose their freedom but also their dignity: they are sold to men
or forced into prostitution.
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6.5. poster motif: stoning
Translation:
It usually is a woman.
Stonings are still part of everyday life. Help us to change that.