Introduction
The piece for visual analysis was created by Cindy Sherman, and the photograph is from one of the collections devoted to the representation of female film characters. Its selection was conditional upon the informativeness of the image regarding the ambiguity of black-and-white portraits in general, as well as the possibility to reveal the reason behind this phenomenon (Public Delivery, 2021). This rationale is supported by the fact that the engaging power of the image is ensured by the reflections about the people and their lives it evokes. Thus, the condition why it is worthy of analysis is the opportunity to examine the cultural aspects of cinema by focusing on a single picture about the gaze (“COMS3410 week three,” n.d.).
The image used for this purpose is known as “Untitled Film Still #21,” made in 1978, using gelatin silver print, and it is currently available in the online collection of MoMA Learning (Sherman, n.d.). Hence, the analysis of this piece is feasible from the perspective of demonstrating the importance of the sociological underpinning of cultural products and the way visual techniques are used for transmitting the message.
Visual Description
The black-and-white photograph appears to be quite minimalistic at first sight; however, a closer look confirms the presence of a more complex motivation of its creator. Initially, a viewer pays attention to the woman, glancing to the left with a sad look on her face (Sherman, n.d.). This characteristic, which is avoiding the camera, is one of the main features of Sherman’s collection as a whole, and it is seen in the picture (Public Delivery, 2021). In the background, there are several buildings, and the setting, which is likely to be a city center, does not seem to be accidental (see Appendix A). It speaks about millions of other people, resembling the depicted woman, who encounter similar struggles. Even though it is unclear what kind of a challenge it might be without referencing the past, one can easily suggest that it is related to the position of female citizens in society (Public Delivery, 2021). Hence, the selected piece is informative from the standpoint of historical trends as well as their typical portrayal.
The described visual qualities and details of the photograph are complemented by the technical aspect, compositional solutions, and social practices, which play a significant role in understanding the examined work. According to Gillian Rose’s framework, technology is critical for analysis, and, in this situation, it is presented by the simplicity of technique, deliberately emphasized to reflect the spirit of the age (“COMS3410 week two,” n.d.; Sherman, n.d.). In turn, the choice of colors supports this opinion, and the spatial organization and, more specifically, the distance between the woman and the buildings, confirms the alleged lack of understanding between her and the world. The societal part of this work is represented by the relationships between people based on gender bias and, consequently, isolation of the person (Public Delivery, 2021). In this case, “the separation between her and the audience” is complemented by “the shine of sweat, humidity, and fear,” thereby implying the existence of global problems (Public Delivery, 2021). In this way, the selected piece can be characterized by a simple medium in combination with the complexity of issues typical for the female population of the previous century.
Compositional Analysis
Compositional Modality
In the assessment of the image, compositional modality is one of the most crucial parameters which should be taken into account to support the significance of its parts for the whole message. Thus, as per Rose’s framework, the genre is crucial, and in this case, it is black-and-white photography as a means of demonstrating the situations in the past (“COMS3410 week two,” n.d.; Sherman, n.d.). It is more suitable for this objective since relying on modern techniques would be detrimental to the overall perception of the piece by the audience (“COMS3410 week 4,” n.d.). Meanwhile, the composition is relatively stable in terms of remaining unchanged when examining it closer and serving as evidence of a biased attitude toward women’s portrayal (Public Delivery, 2021). The only viewing position offered to people is that of an outsider, and it underpins the societal issues referred to by the creator.
Overall, the composition and its details serve as evidence of proper organization and elimination of distractions while showing the photographer’s concerns. In this situation, the image as it is currently presented can convey the general challenge of the perception of the female population as attractive regardless of personal circumstances (Public Delivery, 2021). This approach was common in the twentieth century, and the fact that it is employed in this picture confirms its historical accuracy (Sherman, n.d.). In addition, the possibility of placing it in a different context is unlikely to change the message unless other details are included.
Gaze and Tishman’s Approach: Significance for Interpretation
Another factor, which should be considered in the present analysis, is the importance of the male gaze for interpreting the image. The emphasis on this perspective is conditional upon the fact that Hollywood movies are usually viewed through this lens, and female characters are shown as “highly sexualized objects of male desire” (“COMS3410 week three,” n.d.). The woman in the picture resembles other photographs in the genre and, therefore, can be seen as belonging to this category (Sherman, n.d.). This perspective is supported by other works in the collection as the mentioned feature is attributed to all of them (Public Delivery, 2021). The link between the identity of people and their femininity is proved by the attention to makeup as a means for claiming one’s place in the world (Public Delivery, 2021). Thus, the examined picture fully corresponds to the described standards while being intended for depicting them in the right light or, in other words, criticizing societal trends of the past.
Moreover, the details of the piece contribute to the general perception of this work as one belonging to the past. As per Tishman’s framework, the colors, lines, and shapes, which are critical for observation, are arranged in such a manner that a viewer has no doubts regarding the historical focus of the creator (“COMS3410 week two,” n.d.). The black-and-white objects and simple and clear contours are, therefore, crucial for interpretation, while the distance between the woman and the world behind her transmits the general message of isolation (“COMS3410 week two,” n.d.). In addition, the contrast between these two parts of the photographs reminds the audience of this fact while also being vital for supporting the importance of characteristics discussed in previous sections.
Connection to Visual Themes and Larger Ideas
The composition of “Untitled Film Still #21,” examined above, is explicitly linked to larger ideas, which are visually portrayed by the photographer. Thus, the connection is seen in the correlation between the woman’s face in the foreground and the importance of makeup for claiming a position in society (Public Delivery, n.d.). In other words, the sociological motives incorporated in the art become apparent after observing this picture (“COMS3410 week 5,” n.d.). The image also conveys the alleged public crisis, which is concerned with “conventional rules of how women or people, for that matter, should behave” (Public Delivery, n.d.; “COMS3410 week 6,” n.d.). From this point of view, the context is unique to this image since any change to it will inevitably distort the message. Since the visual themes presented by the creator are solely attributed to historical trends, they cannot be effective when placed in another setting or if the medium and colors are substituted by other solutions.
Conclusion
In conclusion, a close reading of the image showed that sociological phenomena alongside historical events are crucial for its understanding. In other words, the selected black-and-white photograph of Cindy Sherman is a piece that is more complex than merely a combination of scarce details and minimalistic techniques. In turn, the compositional modality of this work is expressed in the combination of methods appropriate for depicting women’s struggles in the past related to the emphasis on their attractiveness in the first place. From this perspective, one can claim the presence of the male gaze, dictating Sherman’s motives to criticize it in her collection. Colors, lines, and shapes are also simple, while the distance between the figure and the buildings is more informative in interpreting the meaning of this photograph. Since the visual details are aligned with the original ideas of the creator, it is feasible to state that a larger context is present, implying the sociological and historical underpinning of the image.
References
“COMS3410 week two.” (n.d.).
“COMS3410 week three.” (n.d.).
“COMS3410 week 4.” (n.d.).
“COMS3410 week 5.” (n.d.).
“COMS3410 week 6.” (n.d.).
Public Delivery. (2021). Cindy Sherman’s Untitled film stills – Her groundbreaking self-portraits. Web.
Sherman, C. (n.d.). Untitled film still #21. MoMA Learning. Web.
Appendix A
