In writing this first essay regarding the global argument behind the photo Very Bad, I learned how to deconstruct the elements of a photo and then depict the argument based on those elements. Throughout this process, however, there were many challenges that I had to overcome, the first of which was actually depicting the argument of the photo. I originally thought the argument was that the woman had been raped, as shown by her gestures. I soon found out through class discussions, however, that an argument is much more in-depth than simply inferring observations from the photo. By deconstructing the elements of the photo via pathos and logos, I was able to see that, in the context of a westerner looking at the photo, it evoked a sense of sympathy, thus provoking a desire to aid these people.
Another difficulty that I had was figuring out which elements of the photo would best support my argument. Vectors of attention immediately stood out, as the woman conveys much emotion through her gestures. Beyond that, however, I had to pick apart the rest of the photo to see that the framing/cropping isolated the few elements within the image, supporting the argument. In addition, I found out that the coloration, or contrast of the dark hues of the background and the bright hues of the clothing, also emphasized the woman. Thus, framing and coloration became my other key points adding to the argument.
As far as global revisions, besides adding bits and pieces to each of the key points over the course of the drafts, the most drastic change that I made was to rearrange these supporting points. In my first draft, the "statement of organization" looked as such, “Specifically, technical elements including vectors of attention, framing, as well as coloration function to forward this argument via appeals to pathos and logos.” However, due to the fact that the framing and coloration used logos in order to focus on the vector of attention, the woman, I switched the order of these supporting points to framing, coloration, and then vectors of attention.
Besides switching the key points, I also made a relatively drastic change to my introduction, as it was a bit lengthy in my first draft. Originally, I included much information regarding dates in the history of the Congo such as, “In 1997, the Mobutu regime, which was the empowered government in Congo, was overthrown with the support of Rwanda and Uganda.” I realized that this information was not salient to my argument, however, and so I replaced the irrelevant history with information on the photographer. In addition, I found that I had not addressed the “so what?” question in the conclusion, so I added several sentences such as, “Looking at this situation from a Western perspective, then, the issue goes beyond sympathy.” I believe that this concludes the essay more appropriately, and keeps the reader engaged until the end.
Another difficulty that I had was figuring out which elements of the photo would best support my argument. Vectors of attention immediately stood out, as the woman conveys much emotion through her gestures. Beyond that, however, I had to pick apart the rest of the photo to see that the framing/cropping isolated the few elements within the image, supporting the argument. In addition, I found out that the coloration, or contrast of the dark hues of the background and the bright hues of the clothing, also emphasized the woman. Thus, framing and coloration became my other key points adding to the argument.
As far as global revisions, besides adding bits and pieces to each of the key points over the course of the drafts, the most drastic change that I made was to rearrange these supporting points. In my first draft, the "statement of organization" looked as such, “Specifically, technical elements including vectors of attention, framing, as well as coloration function to forward this argument via appeals to pathos and logos.” However, due to the fact that the framing and coloration used logos in order to focus on the vector of attention, the woman, I switched the order of these supporting points to framing, coloration, and then vectors of attention.
Besides switching the key points, I also made a relatively drastic change to my introduction, as it was a bit lengthy in my first draft. Originally, I included much information regarding dates in the history of the Congo such as, “In 1997, the Mobutu regime, which was the empowered government in Congo, was overthrown with the support of Rwanda and Uganda.” I realized that this information was not salient to my argument, however, and so I replaced the irrelevant history with information on the photographer. In addition, I found that I had not addressed the “so what?” question in the conclusion, so I added several sentences such as, “Looking at this situation from a Western perspective, then, the issue goes beyond sympathy.” I believe that this concludes the essay more appropriately, and keeps the reader engaged until the end.
Final Draft:
Throughout history, the weapon of rape has often accompanied acts of war between different countries. Designed to humiliate and devastate communities, this weapon demonstrates power, supremacy, and dominance via the sexual violation of women. Perhaps the major reason for its effectiveness, however, is the fact that victims are typically silent and passive to the oppressor, as discussed in the above video, The Greatest Silence, Rape in the Congo. Besides negative physical effects, a loss of self-esteem contributes to a weak and dejected psyche in victims (RAINN). This state of depression, then, does nothing to prevent future attacks.
Although this weapon has existed since biblical times, there are a few major events in the modern era that have embodied the destruction of rape. The infamous Rape of Nanking in 1937 was one such incident that displayed the magnitude of destruction rape could have on a culture. During this particular massacre, an estimated 20-80,000 Chinese women were raped by invading Japanese solders: many of whom were physically beaten, sexually abused, and slaughtered. (BBC News…The Rape of Nanking)
Although this weapon has existed since biblical times, there are a few major events in the modern era that have embodied the destruction of rape. The infamous Rape of Nanking in 1937 was one such incident that displayed the magnitude of destruction rape could have on a culture. During this particular massacre, an estimated 20-80,000 Chinese women were raped by invading Japanese solders: many of whom were physically beaten, sexually abused, and slaughtered. (BBC News…The Rape of Nanking) Perhaps the most recent and extensive use of rape, however, has been in the Democratic Republic of Congo, located in central Africa. Established in 1960, the country’s history has been characterized by political and social instability. (CIA World Factbook). In 2003, it finally looked as though peace had been reached, as a treaty was signed among neighboring countries. Unfortunately, however, this agreement had little effect, as acts of violence continued to mar the lives of natives. One of the biggest, but unseen, tragedies has been the raping of thousands of women by various military forces: both foreign and domestic. According to the video Congo: Rape as a Tool of War by the Washington Times, “Tens of thousands of women have been raped in Congo in the last ten years of civil war…[with] an average of 1,100 rape cases reported each month.” The video also says that rape is a weapon of choice because it is cheaper than using bullets, and it is guaranteed to keep a region submissive (Congo's Greatest Shame).
Besides looking at statistics, news reports have revealed the severity of the situation via other means. One photographer, Anna Kari, has taken photos in the Eastern provinces of Congo, depicting daily life in that area. She has published a series of photos of two women entitled Tales of Rape in DR Congo, which exemplify how rape has changed their lives. One such photo, entitled Very Bad, is about Aimerance, a seventeen year-old woman, who has been raped while serving time in the national army (BBC News: Photo Journal). This particular image illustrates the assistance and support needed by victims of rape in Congo to prevent further exploitation of natives. Specifically, technical elements including framing, coloration, and vectors of attention function to forward this argument via appeals to logos and pathos.
Besides looking at statistics, news reports have revealed the severity of the situation via other means. One photographer, Anna Kari, has taken photos in the Eastern provinces of Congo, depicting daily life in that area. She has published a series of photos of two women entitled Tales of Rape in DR Congo, which exemplify how rape has changed their lives. One such photo, entitled Very Bad, is about Aimerance, a seventeen year-old woman, who has been raped while serving time in the national army (BBC News: Photo Journal). This particular image illustrates the assistance and support needed by victims of rape in Congo to prevent further exploitation of natives. Specifically, technical elements including framing, coloration, and vectors of attention function to forward this argument via appeals to logos and pathos.
When one first looks at the photo, the woman immediately stands out, which plays an important role in the argument of the image. A powerful element that contributes to this focal point is the way in which the image is framed and cropped. By isolating the receding room, the wall, and the woman as the only elements in the picture, the photo presents a clear visual hierarchy. Thus, via logos, the image is better able to “shap[e] someone else’s attention,” meaning the viewer’s (Compose, Design, Advocate, 285). In other words, restricting the number of elements within the frame directs the reader’s attention to specific aspects of the photo. The pinnacle of this hierarchy includes the woman, as she is the closest in the foreground. This is important, as the viewer is then drawn to inspect her gestures more carefully to find a meaning to them.
In addition to framing, the alignment of these key elements also shapes how the reader perceives the photo. Due to the orthogonal orientation of the wall and background in respect to the frame, the audience uses the grid-like structure to inspect all parts of the photo. Eventually, however, the viewer’s eye comes to rest on the woman and what she represents. The juxtaposition of this rigid framework with the more dynamic pose of the woman reinforces the notion that she is the focal point of the image. Nevertheless, the audience’s inspection of this alignment in respect to the woman is also important, as it provides a backdrop or setting for her, upon which the viewer can expand.
Besides the framing and alignment of the photo, the coloration is another key element that relates to the argument of the image. In looking at the photo, there are generally two categories of color that are used. The receding room and wall are both dark hues: black and brown. The woman, however, is wearing a white top and blue jeans, which are much brighter hues. This difference in coloration creates high contrast between the woman and her background, reinforcing the notion that she is at the peak of the hierarchy. Furthermore, these hues enforce the narrative of the photo, as the dark hues from the shadows are logically associated with the negative experiences from her past (rape). There is also a bright, white light piercing from a window through the dark room, which logically represents a shining hope throughout her past. She has come out of this past, however, to stand exposed against the wall, only to be haunted by remaining shadows. This narrative, supported by the alignment and hues, also reinforces the woman as the primary element of the photo.
As the image uses appeals to logos via framing and coloration to direct the attention of the audience toward the woman, she is presented as the primary vector of attention within the photo. Positioned as such, further examination of her gestures reveals that her left hand is covering her eyes, hiding them from the camera lens, and in turn, the eyes of the audience. Due to this inability to establish eye contact with her, the audience is distanced somewhat from her specific situation. As onlookers, the issue then becomes the reason for her masked face. Logically, one looks to her body language for further explanation. However, in addition to logos, Compose, Design, Advocate says that this body language also appeals to pathos. As stated on page 352, “Vectors of attention are thus about…emotional connections within the photograph as well as between the photograph and the audience.” In this manner, the viewer can then look to her gestures for answers about her emotional state.
Looking at the woman, there is the insinuation of a lack of confidence, as she is seen covering her eyes, looking downward, and turning away from the camera. Further on in Compose, Design, Advocate, the author mentions “obvious pathos.” He says, “When we see people in a photograph, we might identify with them: we understand the situation they are in through our own experiences” (274). Indeed it is unlikely that many members of the audience have first-hand experience with rape. Despite this, most have probably experienced embarrassment, shame, or emotional instability at one time or another, which are the emotions portrayed by the woman. These feelings, consequently, are also an effect of rape, leading to a common connection between the audience and the woman (RAINN). The result of this is that as onlookers, the audience becomes sympathetic toward the raping of the woman, as well as her mental condition. This is especially true from a Western standpoint, which emphasizes values such as "liberty and justice for all" (The Pledge of Allegiance). On a different level, someone from the Congo, who has personal experience with similar situations, might react with rage directed toward the army. They too, however, would probably be sympathetic toward the woman, with both cultures agreeing that something needs to be done to stop these acts of rape from happening.
Through the use of isolation framing and contrasting coloration to highlight the woman as a vector of attention, the photo Very Bad by Anna Kari supports the argument through pathos and logos that assistance and support is needed in this region. With the history of rape as seen through incidences such as the Rape of Nanking, as well as the current published articles of the Congo, this image provokes a feeling of sympathy as pertaining to its audience. Rape can be life-altering, as it is emotionally, socially, and mentally taxing (RAINN). Looking at this situation from a Western perspective, then, the issue goes beyond sympathy. What can be done to assist these victims of rape? Surely such exploitation is inhumane and intolerable, but how is one to go about ending this crisis? Although the problem lies in the armed forces that patrol the region, in some cases it involves the same national army that is supposed to be protecting citizens. In looking at the photo, maybe it provides not only insight into such a problem, but to the solution as well. Perhaps the first step toward a better tomorrow is to unite the women of the Congo, showing their faces to the world.
In addition to framing, the alignment of these key elements also shapes how the reader perceives the photo. Due to the orthogonal orientation of the wall and background in respect to the frame, the audience uses the grid-like structure to inspect all parts of the photo. Eventually, however, the viewer’s eye comes to rest on the woman and what she represents. The juxtaposition of this rigid framework with the more dynamic pose of the woman reinforces the notion that she is the focal point of the image. Nevertheless, the audience’s inspection of this alignment in respect to the woman is also important, as it provides a backdrop or setting for her, upon which the viewer can expand.
Besides the framing and alignment of the photo, the coloration is another key element that relates to the argument of the image. In looking at the photo, there are generally two categories of color that are used. The receding room and wall are both dark hues: black and brown. The woman, however, is wearing a white top and blue jeans, which are much brighter hues. This difference in coloration creates high contrast between the woman and her background, reinforcing the notion that she is at the peak of the hierarchy. Furthermore, these hues enforce the narrative of the photo, as the dark hues from the shadows are logically associated with the negative experiences from her past (rape). There is also a bright, white light piercing from a window through the dark room, which logically represents a shining hope throughout her past. She has come out of this past, however, to stand exposed against the wall, only to be haunted by remaining shadows. This narrative, supported by the alignment and hues, also reinforces the woman as the primary element of the photo.As the image uses appeals to logos via framing and coloration to direct the attention of the audience toward the woman, she is presented as the primary vector of attention within the photo. Positioned as such, further examination of her gestures reveals that her left hand is covering her eyes, hiding them from the camera lens, and in turn, the eyes of the audience. Due to this inability to establish eye contact with her, the audience is distanced somewhat from her specific situation. As onlookers, the issue then becomes the reason for her masked face. Logically, one looks to her body language for further explanation. However, in addition to logos, Compose, Design, Advocate says that this body language also appeals to pathos. As stated on page 352, “Vectors of attention are thus about…emotional connections within the photograph as well as between the photograph and the audience.” In this manner, the viewer can then look to her gestures for answers about her emotional state.
Looking at the woman, there is the insinuation of a lack of confidence, as she is seen covering her eyes, looking downward, and turning away from the camera. Further on in Compose, Design, Advocate, the author mentions “obvious pathos.” He says, “When we see people in a photograph, we might identify with them: we understand the situation they are in through our own experiences” (274). Indeed it is unlikely that many members of the audience have first-hand experience with rape. Despite this, most have probably experienced embarrassment, shame, or emotional instability at one time or another, which are the emotions portrayed by the woman. These feelings, consequently, are also an effect of rape, leading to a common connection between the audience and the woman (RAINN). The result of this is that as onlookers, the audience becomes sympathetic toward the raping of the woman, as well as her mental condition. This is especially true from a Western standpoint, which emphasizes values such as "liberty and justice for all" (The Pledge of Allegiance). On a different level, someone from the Congo, who has personal experience with similar situations, might react with rage directed toward the army. They too, however, would probably be sympathetic toward the woman, with both cultures agreeing that something needs to be done to stop these acts of rape from happening.
Through the use of isolation framing and contrasting coloration to highlight the woman as a vector of attention, the photo Very Bad by Anna Kari supports the argument through pathos and logos that assistance and support is needed in this region. With the history of rape as seen through incidences such as the Rape of Nanking, as well as the current published articles of the Congo, this image provokes a feeling of sympathy as pertaining to its audience. Rape can be life-altering, as it is emotionally, socially, and mentally taxing (RAINN). Looking at this situation from a Western perspective, then, the issue goes beyond sympathy. What can be done to assist these victims of rape? Surely such exploitation is inhumane and intolerable, but how is one to go about ending this crisis? Although the problem lies in the armed forces that patrol the region, in some cases it involves the same national army that is supposed to be protecting citizens. In looking at the photo, maybe it provides not only insight into such a problem, but to the solution as well. Perhaps the first step toward a better tomorrow is to unite the women of the Congo, showing their faces to the world.Works Cited:
"BBC News: World, Scarred by history: The Rape of Nanking." BBC NEWS News Front Page. 13 Dec. 1997. Web. 01 Mar. 2010. {http://news.bbc.co.uk/2/hi/39166.stm}
"BBC News: Photo journal: Tales of rape in DR Congo." BBC NEWS, News Front Page. 2007. 17 Feb. 2010 {http://news.bbc.co.uk/2/shared/spl/hi/picture_gallery/05/
africa_tales_of_rape_in_dr_congo/html/5.stm}.
"CIA - The World Factbook -- Congo, Democratic Republic of the." Welcome to the CIA Web Site Central Intelligence Agency. 15 Jan. 2010. 18 Feb. 2010 {https://www.cia.gov/library/publications/the-world-factbook/geos/cg.html}.
Congo's Greatest Shame: Rape as a Tool of War. Youtube. Washington Times, 8 Sept. 2009. Web. 1 Mar. 2010. {http://www.youtube.com/watch#playlist=1&playnext_from=TL&videos=
"CIA - The World Factbook -- Congo, Democratic Republic of the." Welcome to the CIA Web Site Central Intelligence Agency. 15 Jan. 2010. 18 Feb. 2010 {https://www.cia.gov/library/publications/the-world-factbook/geos/cg.html}.
Congo's Greatest Shame: Rape as a Tool of War. Youtube. Washington Times, 8 Sept. 2009. Web. 1 Mar. 2010. {http://www.youtube.com/watch#playlist=1&playnext_from=TL&videos=
_3Ek6i8TCSk&v=xUH8ZhmEyp8}.
"Effects of Sexual Assault RAINN Rape, Abuse and Incest National Network." RAINN; Rape, Abuse and Incest National Network. 31 Feb. 2010. Web. 04 Mar. 2010. {http://www.rainn.org/get-information/effects-of-sexual-assult}.
"The Pledge of Allegiance" Ushistory.org. Web. 06 Mar. 2010. {http://ushistory.org/documents/pledge.htm}.
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