Ian Healey Dr.

Ryan 12/1/2011 Writing II

~ Annotated Bibliography ~
Source # 1 : Journalism After September 11 (book) 1.) Citation: Zelizer, Barbie, and Stuart Allan, eds. Journalism After September 11. New York: Routledge, 2011. 55-73. Web. 28 Nov. 2011. <http://books.google.com/books? hl=en&lr=&id=QL17Mt4uhasC&oi=fnd&pg=PA55&dq=responses+to+unpre dictable+photography&ots=TTwHhaNkYF&sig=5TlRoVSpTgwqcShZI8L3SzBE 7zw#v=onepage&q=responses%20to%20unpredictab>. 2.) Google books search "responses to unpredictable photography". Found book titled "Journalism After September 11" that had the keywords I typed in included in it. Then scrolled down to the chapter in the book called "Photography, Journalism, and Trauma". 3.) Writer: The author of this specific chapter from the book is Barbie Zelizer, who is the Raymond Williams Professor of Communication and Director of the Scholars Program at the University of Pennsylvania's Annenberg School for Communication. A former journalist, Zelizer is most

well known for her work in the areas of journalism, culture, memory and images. She typically worked in these areas during times of crisis. She has been a part of either writing or editing eleven books; such as the awardwinning "Remembering to Forget: Holocaust Memory Through the Camera's Eye". Audience: The ideal audience for this specific chapter of the book would be well educated, and capable of critical thought in terms of what photography and journalism mean in times of traumatic events. It is also for those who don't fully understand the beauty of photography and how powerful an image can be, especially one taken during a terrible event or time. Purpose: It's geared towards exploring how important photographs were, are still are, to receiving some sort of emotional response from the viewers.Whether it be negative, or positive, each photograph taken during this horrific memorable time in history tells a story and carries with it a certain amount of emotionally weight. This chapter educates the already educated further towards understanding how photography, in times of crisis, are able to fill the gap missing from a journalistic perspective. You can't always put into words what something you see makes you feel, but a photograph can freeze that feeling given by that image, forever. 4.) My thesis of my paper is "Through this powerful photograph, we gain a harsh sense of reality and are able to see how short and unpredictable life

truly is." This chapter from the book "Journalism After September 11" can provide quotes and specific examples to further enhance my understanding and overall point that images put life's harsh realities on display. In comparison to the "Boston Photographs", the pictures taken during the horrible 911 catastrophe couldn't be a better example of exactly what I'm talking about. Not only can I use specific quotes from the chapter that speak about the effects of photographs on people, but I can also interpret what I've said in my paper already in a different way now because of my gained knowledge on the dynamic levels of crisis photography.

Source # 2 : Stanley Forman Photos (website) 1.) Citation: Forman, Stanley. Stanley Forman Photos. Ed. Stanley Forman. N.p., 2010. Web. 28 Nov. 2011. <http://stanleyformanphotos.com/index.html>. 2.) Type in stanleyformanphotos.com and click enter to enter the main site. Then click on the galleries tab to open up a new link. Once opened, click on the photograph of the woman and child falling (i.e. the boston photograph) and scroll down to view the information gathered from that tab. 3.) Writer: The author of the information I plan to use in my essay, and this entire website, is Stanley Forman himself. Stanley Forman is a highly

acclaimed photojournalist who studied studied photography at the Benjamin Franklin Institute of Technology in Boston. Over a four year span of being a photojournalist, Forman won the Pulitzer Prize three times. Although his photographs were typically considered controversial in terms of whether or not they should have been published, he is still considered one of the greatest "spot photographers" of all time, as well as a highly accredited journalist. Audience: The audience that I believe Stanley Forman intended to read and critique this site is the general public. The site briefly educates as well as offers opportunities to purchase photographs taken by himself. In addition, the site is very opinionated, and although it doesn't go into excessive detail to any means, it touches on the various feelings of the public regarding his photographs. I also believe that there is an intention of this site to be directed solely towards people that did not agree with Forman's decision to publish certain photographs, such as the famous images of the woman and child falling, and the person using the American flag as a weapon. Purpose: Overall, the purpose of this page is to educate the public on his own take of what went through his mind during the taking of certain photographs. He explains his thought process on the specific day of the event, as well as how it has made him feel in the future. He wants readers to understand that he, to an extent, feels the pain and sadness of certain photographs that he took, but that he finds nothing wrong with them being

shared all over the world; he makes that perfectly clear. He goes in depth to describe the success he's had in his life after this initial photograph that sparked his career. 4.) When I wrote my original first draft of this paper, it had a ton of my personal opinions regarding the matter of whether or not the photograph should have been published. After focusing and realizing that this made my paper way to conversational and argumentative, I decided to go in a different direction. Throughout my paper, I examine the harsh reality that one comes to face through looking at a powerful image, such as this photo of the woman and child falling inevitably to their death. I still touch on the fact that I think it's a terrible thing to publish this photograph for reasons of privacy and so forth, and I feel that specific quotation from this site and the strong feeling it brings to me will help me further expand a little bit on what I barely touched on in my final paper. I will use Stanley Forman's direct language to back up exactly what I want to say about these image's being published, and the effects on society.

Source # 3 : After 35 years, news photo still resonates (website article/blog) 1.) Citation: Kenner, Andrea. "After 35 years, news photo still resonates." At Home in the Mid-Atlantic. Ed. Andrea Kenner. N.p., 12 Feb. 2011. Web. 1

Dec. 2011. <http://www.andreakenner.com/blog/after-35-years-news-photostill-resonates/>. 2.) I actually found this site/blog through the "stanleyformanphotos.com" site. Following all the same directions from my last source, you scroll to the bottom of the article and click on the link that says, "Andre Kenner - After 35 Years, Fire Escape Collapses". You should be taken to a site and find an article/blog by Andre Kenner that discusses the photo, the outcome, and the controversy. 3.) Writer: Andrea Kenner is currently a student in the interactive journalism program at the School of Communication at American University in Washington, D.C. She is expected to get her masters degree from AU (isn't that funny? - Alfred U. American U.) in May, 2012. She is the creator of the website, and author of this blog which articulates her own opinions as well as useful quotes by other people about the boston photographs publication. Audience: The general public is her intended audience because of the fact that it is a blog site where she often times posts things she wants typical viewers to read. Since she is currently attending college, she might be aiming towards a slightly higher intelligence level than that of plain common society, but either way it is written for anyone who wants to take the time to read it. Purpose: The piece examines both sides of the spectrum in regards to

whether or not the Boston Photographs should have been published and what reasons surround each argument. She has sources that go against the publication stating things such as an invasion of privacy, and she also has sources that defend the publication because they think the representation of something so beautiful can't be described in any other manner. The blog/article touches on both sides of the human brain as it becomes a struggle of what's considered moral and what's considered invasive. 4.) I don't intend to use a lot of this source, and even if I did, there isn't much to work with anyway. I honestly found one or two quotes that I find interesting in this article and can see exactly where to use them in my paper, but other than that I will move on to my next source. She quotes a man named Tom Beck who is chief curator at the Albin O. Kuhn Library at UMBC, "Its kind of like a mirror in that we can see ourself in that picture. You can imagine what it must feel like to be falling thats a powerful way to relate to a photo. I intend to use that quote directly when I speak about how people are able to relate to images on different levels in a photograph.

Source # 4 : On Arnheim's "Visual Thinking" (journal) 1.) Citation: Beardsley, Monroe C. "On Arnheim's "Visual Thinking"." Journal of Aesthetic Education 5.3 July (1971): 181-85. Web. 1 Dec. 2011. <http://www.jstor.org/stable/3331222>.

2.) I found this source sort of through the examination of my 5th source dealing with Arnheim speaking himself in a document. I went to the JSOR main website and typed in Arnheim visual thinking and literally the second source down was "On Arnheim's Visual Thinking" in a journal. I guess you could say I was lucky to find exactly what I was looking for, but that happens from time to time. 3.) Writer: Monroe Curtis Beardsley was an American art philosopher. He was educated at Yale University (B.A. 1936, Ph.D. 1939), where he received the John Addison Porter Prize. He taught at a number of colleges and universities, including Mount Holyoke College and Yale University, but most of his career was spent at Swarthmore College. His work in aesthetics is best known for its championing of the instrumentalist theory of art and the concept of aesthetic experience. Audience: The journal entry appears on JSTOR, which is a scholarly academic site, so this information is probably intended for well-educated, eager to gain new knowledge, individuals. The very title of the journal, "Journal of Aesthetic Education" immediately gives you the sense that it will be an intelligent source of information. Purpose: Ideally, Beardsley most likely hoped to educate people that were truly interested in an aesthetic view of things, and hoped intelligent people would grasp the idea that visual art, in my case for my paper

photographs, bring about a new perception to the world of thought and critical analysis. The writers use of intelligent explanations and interpretation at times makes the journal entry difficult to understand and read, but after a few times reading through, and spending time focusing on what he is really trying to say, each sentence is extremely interesting. I don't feel that this type of journal entry is intended for anyone because I don't feel that a lot of people would understand exactly what it is discussing, especially the portions of quotation i'm planning on examining further. 4.) Photographs are extremely powerful images because of they way our thought processes react to them in specific and individualistic ways. Beardsley's article examines the point that visuals bring about an intensive kind of thinking, but that at the same time, thinking requires an extensive use of imagery in order to understand what you're actually attempting to think about. So in a way it's a cycle. You look at a powerful image, lets say of the boston photographs, and the image makes you think of how short life can be and how you can die at any moment in time, and then through that thought process you literally begin to develop your own "personal photographs" in your head, in a sense, that help unravel your overall thought.

Source # 5 : Arnheim's Psychology of Art and Photography (website/article)

1.) Citation: Ho Yu, Dr. Chong. "Arheim's Psychology of Art and Photography." Informational and interpretive article. Ed. Dr. Chong Ho Yu. N.p., 6 Oct. 2002. Web. 1 Dec. 2011. <http://www.creativewisdom.com/photography/photo_essay/dynamic.html>. 2.) In the main google bar type in "Analysis of psychology of photography". Click on the 8th link down titled, "Arnheim's psychology of art and photography". Then the source should appear! 3.) Writer: Dr. Chong Ho Yu is a highly educated main who received a doctorate in Measurement and Statistics and a doctorate in Philosophy of Science both from Arizona State University. He also earned a Bachelor of Arts degree in Visual Arts from Bemidji State University, MN, and a Diploma in Professional Photography from the New York Institute of Photography. A lot of his work examines the intricacies of traditional, as well as digital, photography, and the theories and concepts that lie within. Audience: I feel that the ideal audience for this article by Dr. Chong would be intelligent individuals that are interested in integrated and interdisciplinary studies. What that means is a combination of numerous things. Art, philosophy, science, technology etc..the closer examination of how everything can be tied together. Purpose: To explain and dive into the subjects of how photography is

one specific type of art that has certain levels of visual dynamics attached to it. Another purpose of this article is to tie together the philosophical and psychological aspects of photography and try to make sense of them. 4.) "According to Arnheim (1979), environment-driven photography carries a property of "natural accident." I can use things like this specially to examine how not only are action spot photographs, such as the boston photographs, real life accidents, but photographical accidents as well. Any environment-driven photograph is attached to an idea of a moment frozen in time. Even if you were there at the scene of what was going on, you would have never have been able to view the scene in a "frozen" or "slow motion" manner like you can in the photographs. This article has made me think of the idea that the woman and child pictured will be forever falling to their death, the child not so much, but for that moment in time, death seems inevitable. In real life, the fall lasts a couple of seconds, and her life is gone; but within the photograph she sort of lives on in a way, and is trapped in a horrific place of doom.