Tbb Culture Part Eleven Fashion and the Image free essay sample

Photography as been seen as lightweight end of photography due to it`s close relationship to the fashion industry, which is dependent on fast turnover; transitory, commercial Fashion advertisement in particular is seen as denying the purity of the image shows the typical, stylised instead of the unique moment/event; has nothing artistic (stylised fashion shoot, controlled, created, unnatural, uniform and monotone, all are essentially the same in their aim to sell clothes) captured moment in â€Å"real† photography is most powerful point in which the real world reproduces itself Walter Benjamin, 1940`ies: Although photography has its origins in reproduction of nature by the machine, fashion and advertisement photography must be studied as a process of mechanical reproduction of the contrived (arrangiert) moment 80`ies/90`ies: Fashion photography reflects segmentation of the fashion market place between mass production and couture: upper end: blurred images which reject garment and human body rely on viewer`s familiarity with designer`s logo (e. We will write a custom essay sample on Tbb Culture Part Eleven: Fashion and the Image or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page g. Yamomoto, Miyake, Comme des Garcons); connection to art mass-production end: mail ordering catalogues; emphasise our awareness of self-image and establish a relationship USA: not â€Å"impressionistic†, but â€Å"lifestyle† images on both ends of the market Brooks is a feminist highlights Power relations and heightened sexuality in work by Newton Bourdin 1970`ies: No recognisable ideal; Models came off an assembly line; No individuality; Converting utopias into dystopias Helmut Newton: manipulating Stereotypes ictures raise questions about what is going on no obvious product pictures are distant from viewer; settings are unusual and strange uses technology / film / art artificiality is emphasised pictures presented as alien rather than as an invitation; they are both: general typical, restricted individual stereotyping through suppression of awareness of stereotype and by identification with the unique model as object; they are so completely stereotyped that they become unreal (e. g. mixing dummies with real models for French Vogue in 1977) poses appear dead and frozen; strange with a discontinuous, fragmented nature (like film stills); completely malleable (nothing to do with reality)