Image And Representation

Image and Representation is a clear and straight-talking introduction to two of the most important concepts in film and media studies. Exploring media language and representation throughout a variety of visual texts, the book offers a balanced, in-depth guide to the essential theories and key issues. The book begins by introducing the basic components of image analysis, including mise en scene, framing and anchorage. It then elaborates on these key ideas to provide the reader with a more advanced understanding of media language and representation. From the contribution of semiotics and debates around authorial intent, to ideas about hegemony and issues around propaganda, Nick Lacey offers approachable explanations of complex ideas and terms. The new edition is also now updated to reflect recent changes in the field, with particular attention paid to new media technologies. Each chapter is packed with memorable examples from a wider range of media and provides greater global perspective on today's media landscape. Gradually building up the reader's knowledge to encourage independent thinking, this is an essential resource for students taking courses in media, cultural, communication and film studies at school, college or university.

Now published in a revised second edition, The Matter of Images searches through the resonances of the term ‘representation’, analysing images in terms of why they matter, what they are made of, and the material realities they refer to. Richard Dyer’s analyses consider representations of ‘out’ groups and traditionally dominant groups alike, and encompass the eclectic texts of contemporary culture, from queers to straights, political correctness, representations of Empire and films including Gilda, Papillon and The Night of the Living Dead. Essays new to the second edition discuss Lillian Gish as the ultimate white movie star, the representation of whiteness in the South in Birth of a Nation, and society’s fascination with serial killers. The Matter of Images is distinctive in its commitment to writing politically about contemporary culture, while insisting on the importance of understanding the formal qualities and complexity of the images it investigates.

Analyses a wide range of film and still photographs to explore culturally dominant images and how they work. Extensively illustrated, this challenging collection of essays is essential reading for all students of media and women's studies.

Recently, much attention has been paid to image processing with multiresolution and hierarchical structures such as pyramids and trees. This volume deals with recursive pyramids, which combine the advantages of available multiresolution structures and which are convenient both for global and local image processing. Recursive pyramids are based on regular hierarchical (recursive) structures containing data on image fragments of different sizes. Such an image representation technique enables the effective manipulation of pictorial information as well as the development of special hardware or data structures. The major aspects of this book are two original mathematical models of greyscale and binary images represented by recursive structures. Image compression, transmission and processing are discussed using these models. A number of applications are presented, including optical character recognition, expert systems and special computer architecture for pictorial data processing. The majority of results are presented as algorithms applicable to discrete information fields of arbitrary dimensions (e.g. 2-D or 3-D images). The book is divided into six chapters: Chapter 1 provides a brief introduction. Chapter 2 then deals with recursive structures and their properties. Chapter 3 introduces pyramidal image models. Image coding and the progressive transmission of images with gradual refinement are discussed in Chapter 4. Chapters 5 and 6 are devoted to image processing with pyramidal-recursive structures and applications. The volume concludes with a comprehensive bibliography. For applied mathematicians and computer scientists whose work involves computer vision, information theory and other aspects of image representation techniques.

To what degree, Nichols asks, does ideology inform images in films, advertising, and other media? Does the cinema or any other sign system liberate or manipulate us? How can we as spectators know when the media are subtly perpetuating a specific set of values? To address these issues, the author draws from a variety of approaches -- Marxism, psycholanalysis, communication theory, semiotics, structuralism, the psychology of perception. Working with two interrelated theories -- ideology and image-systems, and ideology and principles of textual criticism -- Nichols shows how and why we make emotional investments in sign sytsems with an ideological context.

The proliferation of digital technology has changed our visual perception and the way we interpret terms such as 'representation', 'immersion', and 'virtuality'. Kresimir Purgar examines some of the topics fundamental to an understanding of the contemporary culture of images. The principal thesis of this volume is that we are witnessing the transitional period of images as not-representation-anymore and not-yet-immersion. Instead of just asking what images mean, we should ask ourselves what images are, how they appear, and what they do to us. The author proposes the comprehensive concept of "pictorial appearing" that takes into account phenomenological, semiotic, and art-historical perspectives on both old and new images.

What precisely, W. J. T. Mitchell asks, are pictures (and theories of pictures) doing now, in the late twentieth century, when the power of the visual is said to be greater than ever before, and the "pictorial turn" supplants the "linguistic turn" in the study of culture? This book by one of America's leading theorists of visual representation offers a rich account of the interplay between the visible and the readable across culture, from literature to visual art to the mass media.

Using a large number of filmic examples, Keyan Tomaselli forcefully underlines the relevance of a semiotic approach to visual representations.