3/13: Psychoanalysis and Discourse Analysis

Please post a question in relation to any of the three chapters read for this week (as a reply below).

Stewart Vertigo Hitchcock

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18 comments

  1. Based on where we are while watching television and how television has changed over the years, will television one day be all mobile? Will we still have actual televisions in the future?

  2. If men are the viewer and women are the viewed (phallocentric visuality and page 191, lines 12-34) could this be considered their social difference? Would men be considered the “other” because of the fact they are the main producers of said images and texts, or would scholars like Laura Mulvey be considered the “other” for pointing out/studying/realizing phallocentric visuality. Could the “other” be whoever is not your “group”?

  3. On page 193 the regime of truth within a photograph is briefly touched upon. The regime of truth in a photograph is thought to be what was really present at the time the photograph is taken, however I do not necessarily think this to be true. In looking at photographs there obviously exists some universal components in interpreting what you see, but photographs speak to different people in different ways so cannot this also be interpreted as the regime of truth?

  4. On page 210 Rose talks about the interpretive process. He says, “The first step in this interpretive process is to try to forget all preconceptions you might have about the materials you are working with.” I’m wondering how truly important that is? Of course looking at something with fresh eyes is important and vital to really understanding whatever you are interpreting. But the background and opinions of others are just as important, do you think it is important to interpret something first, and then look at the other research to get a better or different perspective of it?

  5. “all discourse is organized to make itself persuasive’, and discourse analysis focuses on those elements of persuasion” (196). Discourse analysis can be used in many different ways in how certain aspects affect the social world. Would you say that all discourses are socially produced rather than created by individuals?

  6. On page 191, Rose discusses discursive formation and defines it as, “the way that meanings are connected together in a particular discourse”. When discussing a particular discourse, how can we use intertextuality to understand it?

  7. On page 154, Gillian Rose writes, “Subjectivity is thus culturally as well as psychically constructed, and this process of sujection continues throughout our lives.” My question is how does subjectivity affect the way we look at images? Our images? I would like to continue to talk about subjectivity more in class later today.

  8. Rose talks about the idea that some discourses are more dominant than others. She mentions that Foucault speaks about institutional location. Foucault emphasized the need to take a deeper look at what statements are being made and what institution they are coming from. Throughout this whole reading noticed that Foulcault was very interested in power dynamics. So when it come to the media, as an institution how can we see the unequal power dynamics with in the images, ideas, and message that are being put out?

  9. when understanding the context of certain discourses such as visual images, how do we frame these discourses? how do we know what we are looking at in the image in order to frame it and thus put a discourse around it. (214)

  10. If its essential to understand that a part of framework is how discourse works to persuade. How might as the author states, “this is another part of your analysis must address. Often this entails focusing on claims to truth, or to scientific certainty, or to the natural way of things.” (Page 215) Why is it important to focus on the essentials truths about a particular image? How might this bring a more fullness discourse analysis?

  11. On page 240 Rose discusses the site of the museum and the effects of socio-economic status and how that relates to the agency of the viewing subject. On the very first day of class we spoke about the difference between a Thomas Kinkade and a Picasso painting. How does one occupy more importance because that seems like it is related to subjectivity.

  12. If we are analyzing what people are watching and enjoy and how their daily routines function to better understand our audience an what will appeal to them are we therefore looking at it strictly economically or socially an by better understanding a culture serving their needs an not necessarily selling them a lifestyle as often is perceived? Or are we just supplementing and capitalizing on their current interests?

  13. Through iconography, how can we determine the truth behind, say an image, from what we interpret that can be totally different?

  14. When talking about the difference between socio economic interviewees, is Rose stating that there should be no difference between their answers?
    Because in researches like this, depending on what is interviewed, it is important to remember that people with a better socio-economics, will differ, simply because of the education they gotten.

  15. To go off of what Raquel said about if tv will still be around I think with all the capability that our mobile technology has it won’t.With the horizon of such things as the tablet, google glasses and even projectors now for the iPhone /iTouch, what is possible next? Holograms of what we watch right In front of us projected by some type of glasses or electronic?

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