How I Use Moving Image And Graphic Art

However, further connection in context and content can be developed when analyzing the connection of the works roots and art in history. Exodus exhibits the reality of human suffering as a result of war and oppression during the Hungarian Revolution. The historical relevance of this work dives into a deeper significance than its basic face value. The oppression and struggle for power signified in Exodus also translates into Figure 2. Both cultures, in their own time have faced their traditions and way of life being threatened. As Hungarian citizens are forced to leave their country, Ojibwa members were constantly threatened by European immigrants. The human experience is key in understanding and studying art. Besides the main styles and usage in appearance, the connection to a point in time and the influence of that time allows the audience to connect with the artist and the characteristics of the artwork. Audiences are able to connect past themes to present day issues, such as the difficulties facing many Syrian refugees and the numerous Native American women who have gone missing. The importance of home and culture is evident in both works despite their different purposes and artistic modes. Limits are explored and barriers of past, present are future are removed when audiences are able to interpret the work from any point in time and understand the significance of its visual and non-visual means.

Within this assignment there will be a clear demonstration and understanding of the concept of research in relation to the acquisition of underpinning knowledge appropriate to my programme of study. I will also be undertaking a comparative analysis of the nature and validity of quantitative and qualitative research methods. I will also be demonstrating skills in critical analysis of methods of data collection and selection of appropriate methods to informing future working practice. I will also be analyse the ethical considerations in relation to the development and undertaking of research.

Dawson, Dr Catherine. 2009., Introduction to Research Methods 4E. [internet]. How To Books. Available at: http://lib.myilibrary.com?ID=224510 [ accessed 26 November 2010]

‘Employing a qualitative methodology, underpinned by a constructivist world view, has provided the means to generate rich, deep and contextualised understandings of the research issue, and an appreciation of the socially constructed and experienced realities of the participants.’ (Highfield 2012)

As a normal American citizen, we are not accustomed to being forced out of our homes and having to live as nomads like the people of Syria have been living like since the Arab spring of 2011 the event that started what is now known as The Syrian Civil War. This war has literally been tearing apart Syria and displacing 6.3 million people (Mercy corps). This crisis affects a lot of Syrian individuals including one Doaa Al Zamel. In the book “A Hope More Powerful Than the Sea” we get a firsthand account of what life was like before the start of the war and also a view during the civil war and gives insight to life in the current state of Syria. Doaa’s life in “A Hope More Powerful Than the Sea” had her moving around the Middle East for most of her early adulthood. Throughout her moves to different parts of the Middle East she had many experiences both good and bad. The government, daily life in the Middle East, and family problems that arose during the moves affected Doaa’s life greatly.

In the essay “Award-Winning Photo Puts Subjects on Defensive” by freelance journalist Gert Van Langendonck discusses a photograph that was initially misinterpreted by the photographer, and the world. The photo, taken by war photographer Spencer Platt, won the 2006 World Press Photo of the Year award, after the photo was published by Parris Match in September of 2006. The photo was taken on August 15th, only two days after the ceasefire of what is known as the 2006 Lebanon War. Van Langendonck discusses Platt’s thoughts leading up to the photo, as he was attempting to photograph the southern suburbs of Beirut, which had endured the brunt of Israel’s bombing, and document the various relief efforts along with the diverse refugee populations.

Throughout human history people used to capture the reality of their time, express their feelings and share their impressions by copying both literally or figurative the mundane. The so-called artists have had different impacts in society all along the centuries. Only a few are currently taught in school, although the reverberation of their work is still impregnated in XXI Century. Nowadays, the term ‘artist’ can be used in reference of painters, sculptors, writers, singers, choreographers and other professions whose production are considered valuable culturally speaking. One of the main problems is that their work produce such a magnificent impact on the audience the artist is set aside and usually forgotten as a person, so they feel their rights to be violated.

This is a devastating reality many are facing in the Middle East every day, some more grim than others. It is through a writer’s words, written or oral, or a photographer’s lens where we see our news, our history being captured. In this

The art scene of the Middle East has been historically patriarchal in nature and “The Book of Kings”, (2012) is her response to the shifting cultural landscape on the contemporary stage. The photographic series contains multiple self-portraits each annotated with poetry and prison writings in Farsi . The series fulfils the conditions of global art as Neshat provides a display to the museum through a representation, albeit a personal one, of a cultural narrative that would be censored in Iranian politics . The fulfilment of the diversification of local narratives is present as she presents to a global audience a contradictory stance in portraying the Middle Eastern landscape. Specifically, a criticism of the Iranian government, in relation to its religious persecution of individuals. Neshat demonstrates this representation through the blending of “local” to the historical. Mainly the 7th Century Islamic conquest of Persia interweaving it with recent events including the Arab Spring and Iranian Green Movement . Neshat’s purpose for blending these events not only juxtapose but also criticise the government in these events “in the name of justice across the Middle East and Arab World” . Neshat’s fulfilment of global art conditions is similarly interweaved in the work of Emily

Many of those people were trying to get away from the violence and had nothing to do with it. Bomb barrels containing weapons to immediately kill are dropped every day. The credibility of this image is justified by its reality. Omran Daqneesh and many other Syrian children are a symbol of this tragic and horrific war. Because of the war background of this image, it cannot be denied that the Syrian people are in danger and that the war and its horrid factors are happening right now and at this moment. Omran is covered in the result of war violence, the credibility of this image is justified through his innocence and the cruelty of war itself. The background of the image is the Syrian Civil War,

Joe Sacco’s graphic novel, Palestine, deals with the repercussions of the first intifada in Israel/Palestine/the Holy Land. The story follows the author through the many refugee camps and towns around Palestine as he tries to gather information, stories, and pictures to construct his graphic novel. While the book is enjoyable at a face level, there are many underlying themes conveyed throughout its illustrated pages and written text.

Using this type of research method, I can understand what I would have used other type of research method Taylor et al (1995) ‘‘argued that participant observation offers the best opportunity to discover how people see the world in which they live. It also provides the kind of insight, fresh information and new directions for research which are less likely to come from other methods. ’’

The item that I chose for my critical analysis is a drawing from “A Child’s View from Gaza: Palestinian Children’s Art and The Fight against Censorship”. The book is a collection of drawings created by Gazan children that was supposed to be showcased at the Museum of Children’s Art in Oakland, California until it was censored. The artwork was created by children who were living in Gaza during Operation Cast Lead, which lasted from December 2008 to January 2009. It was a 3 week armed conflict between Hamas and Israel which ended with a ceasefire. Israel claims that it wanted to stop illegal weapon smuggling into Gaza and stop militants from sending more rocket fire into Israel. The conflict raged for 3 weeks,

I intend to concentrate on the cultural heritage of Syria throughout the duration of this report, however the the massive losses in life and property incurred over the course of the now five-year long Civil War in Syria is a major factor in the discussion in regards to what remains, and what has been destroyed, among Syria’s tangible cultural heritage in the form of monuments, historical architecture, and various other pieces of art1. The tangible heritage that remains in the region effected by the Syrian Civil War is testament to thousands of years of culture, history and civilization, which must be protected and efforts must be put forth in its preservation. However, this heritage was built by the ancestors of those who have gone, and is a symbol of past peoples. Those who remain however, are suffering from the onslaughts of both terrorist groups one one hand, and are the victims of conflict between the Free Syrian Army and the forces of President Bashar Al Asad2. It is a logistical and moral quagmire to divert and commit forces to either one or the other, to protect them both from the destruction in the ongoing conflict. Should international and local military focus and effort emphasize the protection of priceless artifacts that are irreplaceable assets for the Syrian people and the world at large? Or should focus instead be diverted to protecting internally displaced persons in the region, as well as those entrenched in areas with intense fighting?

As mentioned, the research method used for this study was participant observation. This was further divided into three different segments. Each of these segments featured its own distinct observation site and involved one hour of observation per site.