Film Poster – Nocturnal Animals (Project 2: Exercise 3)

nocturnal animals (2)
Fig. 1. Nocturnal Animals

project 2 exercise 3


I chose this particular poster for two reasons:

  • I have seen the film and thought it was excellent
  • This poster was produced after it won the Grand Jury Prize at the Venice Film Festival

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Photomontage (Project 2: Exercise 2)



Immediately after this introduction I discuss the four artists. My photomontage then follows, with the reflection at the foot of this post.

The artists

I found the work of the four artists mentioned in the exercise truly inspirational. I’ve included one example from each artist below:

Picture 086
Fig. 1. Heartfield, J.  Adolf, the Superman, Swallows Gold and Spouts Tin (1932)

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Notes for exercise 1

PART THREE – Visual communications

PROJECT 1 – Looking for visual communication


Points requiring consideration

  1. Persuasion

Self-explanatory really but it is worth remembering that this is both good and bad.

  1. Information

Think IKEA instructions!

  1. Identity design

Think branding

  1. Authorial content

Interesting quote from the course materials:

This content aims to entertain, satirise or educate, and is perhaps more closely aligned with other creative disciplines in which the artist has more control over the authorship of the work.

  1. Interactive design

Welcome to the 21st century and the web. And this is only the start!

  1. Alternative messages

Another interesting excerpt from the course materials.

Visual communication isn’t just about promoting commercial interests or conveying governmental advice through mass media. Visual communication is equally used as a subcultural and grassroots tool for protest, creating identities or creating alternative ways of communicating.

Identifying visual communications (Project 1: Exercise 1)

Visual Comms – Purposes

  1. Persuasion
  2. Information
  3. Identity design
  4. Authorial content
  5. Interactive design
  6. Alternative messages

Exercise 1 – (i) Identify examples of the above, and (ii) how do these reference broader ideas of visual culture?


Fig. 1. Modern Nike advert
marlboro-ad new
Fig. 2. Iconic but older Marlboro advert

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Close reading (Project 4: Exercise 2)

Close reading

Read the extract again – as many times as you feel you need to. Think carefully about the following and make some notes in your learning log:

There then follow a number of questions. I have answered each question directly:

My responses

  • ‘He’, the man, and ‘the boy’ are nameless. Why? Does their anonymity change the way we feel about the characters? Can we still care about them without names? Do they still have an identity without a name?

Names bring a lot of preconceptions with them. If the boy were called Algernon, for example, readers might assume him to be British. Anyone familiar with the UK  might go further and assume him to be upper-class. Depending on the prejudices of the reader they might even consider him a member of an “establishment” or possibly a future contender in Monty Python’s upper-class twit of the year competition. In fact, in some of the guides I have read about reading, the choice of a name for a character is considered important, in part, for this very reason. In her book “Write Away”, Elizabeth George explains that when she was writing In the Presence of the Enemy, she “…created a very hard-edged and determined career woman whom I called Eve Bowen. To me that was a nice, hard, assertive name offering no nonsense.”

McCarthy wants the reader to make no assumptions about these two characters. In fact by introducing them without names, he lends the characters a universal quality. As readers we are now curious about them. Are they related? Are they father and son? Importantly,they are man and boy who we are yet to know and understand.

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The Road (Project 4: Exercise 1)

The Road by Cormac McCarthy

“He pushed the cart and both he and the boy carried knapsacks. In the knapsacks were essential things in case they had to abandon the cart and make a run for it. Clamped to the handle of the cart was a chrome motorcycle mirror that he used to watch the road behind them. He shifted the pack higher on his shoulders and looked out over the wasted country. The road was empty. Below in the little valley the still grey serpentine of a river. Motionless and precise. Along the shore a burden of dead reeds. Are you okay? He said. The boy nodded. They set out along the blacktop in the gunmetal light, shuffling through the ash, each the other’s world entire.”

(McCarthy, 2006, p.4)

The Road has an omniscient narrator.

Re-write a few lines of the extract using different types of narrator:

  • First person narrator – from the point of view of the man (I pushed the cart…)
  • Second person – as if you were the man (You pushed the cart…)

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