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• W2076706048 abstract "Click to increase image sizeClick to decrease image size Notes 1. Two excellent predecessors of the books reviewed in this essay are Charles A. Hill and Marguerite Helmers, eds., Defining Visual Rhetorics (Mahwah, NJ: Lawrence Erlbaum Associates, 2004), and Carolyn Handa, ed., Visual Rhetoric in a Digital World: A Critical Sourcebook (Boston: Bedford/St. Martin's, 2004). 2. Sol Worth, “Pictures Can't Say Ain't,” in Studying Visual Communication, ed. Larry Gross (Philadelphia: University of Pennsylvania Press, 1981), 162–84. 3. Andrew Malcolm, comment on “Is the New Yorker's Muslim Obama Cover Incendiary or Satire?” Los Angeles Times blog, comment posted July 31, 2008, http://latimesblogs.latimes.com/washington/2008/07/obama-muslim.html/. 4. Robert Hariman and John Louis Lucaites, No Caption Needed: Iconic Photographs, Public Culture, and Liberal Democracy (Chicago: University of Chicago Press, 2007), 1–24. 5. Stan Vernooey, “An Impressive and Moving Story,” review of The Greatest Generation by Tom Brokaw, Amazon.com, August 19, 2001, http://www.amazon.com/greatest-generation-tom-brokaw/dp/0812965213/ref=pd_bbs_sr_1?ie=utf8&s=books&qid=1220216702&sr=8-1/. 6. Vernooey, “Impressive and Moving Story.” 7. David Freedberg and Vittorio Galese, “Motion, Emotion, and Empathy in Esthetic Experience,” TRENDS in Cognitive Science 11 (2007): 197–203. 8. Giacomo Rizzolatti and Corrado Sinigaglia, Mirrors in the Brain: How Our Minds Share Actions and Emotions, trans. Frances Anderson (New York: Oxford University Press, 2008), chapter 5. See also Marco Iacoboni, Mirroring People: The Science of How We Connect with Others (New York: Farrar, Straus and Giroux, 2008), 3–27. 9. The originator of these ideas is usually considered to be Erwin Panofsky, Perspective as Symbolic Form, trans. Christopher S. Wood (New York: Zone Books, 1927/1991), 27–45. The erudition displayed in Panofsky's historical references seems to have blinded most of his readers to the shaky logic of some of his arguments, such as the idea that straight-line perspective is an arbitrary convention because it doesn't replicate the curvature of the retina. The most extreme exponent of the train of thought that Panofsky set in motion is probably Nelson Goodman, Languages of Art (Indianapolis, IN: Hackett Publishing Company, 1976), 3–44. 10. The most thorough theoretical refutation of the idea that perspective and other photorealistic conventions are arbitrary constructions comes from the writings of J.J. Gibson, posthumously collected in James J. Gibson, The Ecological Approach to Visual Perception (Hillsdale, NJ: Lawrence Erlbaum Associates, 1986), 267–302. 11. Martin Jay, Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought (Berkeley: University of California Press, 1993). 12. See Richard Taylor, ed., The Eisenstein Reader (London: British Film Institute, 1998), 79. 13. Jacob A. Riis, How the Other Half Lives: Studies among the Tenements of New York, intro. Dail Murray (New York: Barnes & Noble Books, 1890/2004). 14. Riis, How the Other Half, 107. 15. Riis, How the Other Half, 115. 16. Riis, How the Other Half, xxii. 17. For a comprehensive review of these issues, see Julianne H. Newton, “Influences of Digital Imaging on the Concept of Photographic Truth,” in Digital Media: Transformations in Human Communication, ed. Paul Messaris and Lee Humphreys (New York: Peter Lang, 2006), 3–14. 18. “Facing the Truth: The Shape of Your Face Betrays How Aggressive You Are—If You Are a Man,” The Economist, August 23, 2008, 70. 19. Paul Ekman, Telling Lies: Clues to Deceit in the Marketplace, Politics, and Marriage (New York: W.W. Norton & Company, 2001). See also Paul Ekman and Erika L. Rosenberg, eds., What the Face Reveals: Basic and Applied Studies of Spontaneous Expression Using the Facial Action Coding System (FACS) (New York: Oxford University Press, 1997), 201–16. 20. Cara A. Finnegan, “Review Essay: Visual Studies and Visual Culture,” Quarterly Journal of Speech 90 (2004): 234–56. Additional informationNotes on contributorsPaul MessarisPaul Messaris is Lev Kuleshov Professor of Communication in the Annenberg School for Communication at the University of Pennsylvania" @default.
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• W2076706048 title "Review Essay: What's<i>Visual</i>about “Visual Rhetoric”?" @default.
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