University of Southern California Dissertations and Theses

The power of visual imagery and its role in public relations

(USC Thesis Other)

The power of visual imagery and its role in public relations

PDF

Download a page range

Download transcript

Copy asset link

Request this asset

Transcript (if available)

Content THE POWER OF VISUAL IMAGERY AND ITS ROLE IN PUBLIC RELATIONS by Julie Bazigos _______________________________________________________________________ A Thesis Presented to the FACULTY OF THE GRADUATE SCHOOL UNIVERSITY OF SOUTHERN CALIFORNIA In Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS (STRATEGIC PUBLIC RELATIONS) May 2009 Copyright 2009 Julie Bazigos ii ACKNOWLEDGEMENTS I would sincerely like to thank my thesis committee members, Jennifer Floto, Les Dunseith, and Jon Kotler, and my thesis advisor, Gail Light, for their guidance and support throughout this journey. Their insightful input and advice kept me on track and inspired me to dig deep into why images and photographs affect our thoughts and emotions, and how powerful they can really be within our industry of public relations. I’d also like to thank my sister Eugenia, and my mother Mary who are my own personal editors and sounding boards. I almost never submit a piece of professional writing without having them read through and provide their opinions, so I thank you for all the countless pages of your feedback, as well as your love, support, and friendship. I’d also like to include the men in my life: my fiancé, Spiro and my father Michael. You have both pushed and motivated me to achieve my dreams. You were both very supportive when I made the decision to leave the work force and realize my dreams of attaining a Master’s degree. Without your love and support, none of this could have happened. iii TABLE OF CONTENTS Acknowledgments ii List of Figures iv Preface vii Abstract viii Chapter 1: Introduction 1 A. The Power of Visual Persuasion 1 B. Advertisers Embrace Visual Imagery 3 C. Bridging the Gap Between the Visual and the Written 4 Chapter 2: Method 5 Chapter 3: Powerful Visual Imagery In Practice 6 A. Historical Photographs (1945-1999) 7 B. Contemporary Photographs (2000-Present) 24 Chapter 4: Technology Impacts the Credibility of Visual Imagery 35 A. The Ethics of Editing Photography 35 B. Brian Walski Example: When Is “Photoshopping” Acceptable? 37 C. “Photoshopping” In Public Relations 42 Chapter 5: Technology Impacts the Lifespan of Visual Imagery 45 A. The Social Networking Factor 45 B. Photographs Never Completely Go Away 48 C. The Perpetuity of Images in Public Relations 49 Chapter 6: Technology Impacts Source of Information for Visual Imagery 61 Chapter 7: Visual Public Relations 64 A. Today and Tomorrow 64 B. Visual Communications in Presidential Campaigns 67 Chapter 8: Implications for Public Relations 70 Bibliography 74 iv LIST OF FIGURES Figure 1: Marines raising flag at Iwo Jima. Photographed by Joe 7 Rosenthal. 1945. Figure 2: V-J Day, Times Square. Photographed by Alfred 8 Eisenstaedt. 1945. Figure 3: North Carolina segregated water fountains. Photographed 9 by Elliott Erwitt. 1950. Figure 4: Albert Einstein being humorous. Photographed by Arthur 10 Sasse. 1951. Figure 5: Guerrillero Heroico (Heroic Guerrilla). Photographed by 11 Alberto Korda. 1960. Figure 6: Washington DC, MLK’s “I Have a Dream” speech. 12 Photographed by Bob Adelman. 1963. Figure 7: Thich Quang Duc. Photographed by Malcolm Browne. 13 1963. Figure 8: JFK Jr. saluting President Kennedy at his father’s funeral. 14 Photographed by Associated Press. 1963. Figure 9: Johnson sworn in. Photographed by Cecil W. Stoughton. 15 1963. Figure 10: South Vietnam police chief Nguyen Ngoc Loan shoots 16 a young man. Photographed by Eddie Adams, Associated Press. 1968. Figure 11: Earthrise. Photographed by William Anders, NASA. 1968. 17 Figure 12: Buzz Aldrin salutes US Flag. Photographed by Neil A. 18 Armstrong. 1969. Figure 13: Kim Phuc Running From Napalm Attack. Photographed by 19 Huỳnh Công Út. 1972. Figure 14: Pakistan, National Geographic Afghan Girl. Photographed 20 by Steve McCurry. 1984. v Figure 15: A man in China stands before tanks during protests for 22 democratic reforms. (Tiananmen Square) Photographed by Jeff Widener, Associated Press. 1989. Figure 16: Video clip of Bill and Monica hugging. Photographer 23 Unknown. 1996. Figure 17: Jennifer Lopez’s Grammy dress. Photographed by 24 Frazer Harrison, Getty Images. 2000. Figure 18: 9/11 The Falling Man. Photographed by Richard 25 Drew. 2001. Figure 19: World Trade Center buildings burning. Photographed 26 by various. 2001. Figure 20: Cross is found within rubble. Photographed by 27 Associated Press. 2001. Figure 21: Flag raising at Ground Zero. Photographed by Thomas 28 E. Franklin. 2001. Figure 22: Removal of Sadam Hussein’s statue. Anonymous 30 photographer. 2003. Figure 23: Abu Ghraib prison tortures. Photographed by U.S. 31 Military. 2004. Figure 24: Tsunami floating bodies. Photographer unknown. 2004. 32 Figure 25: Shepard Fairey’s Obama Poster. Artwork by Shepard 33 Fairey. 2008. Figure 26: Brian Walski’s original photo A. Los Angeles Times. 38 2003. Figure 27: Brian Walski’s original photo B. Los Angeles Times. 38 2003. Figure 28: Brian Walski’s composite photo. Los Angeles Times. 39 2003. Figure 29: Jessica Alba’s before Photoshop and after Photoshop 43 photographs. Photographed by Mario Testino. 2008. vi Figure 30: Paul Reubens’ police mug shot. Sarasota County Sheriffs 50 Department. 1991. Figure 31: O.J. Simpson’s police mug shot. Los Angeles County 51 Sheriffs Department. 1994. Figure 32: Hugh Grant’s police mug shot. Los Angeles County 52 Sheriffs Department. 1995. Figure 33: Nick Nolte’s police mug shot. Los Angeles County 53 Sheriffs Department. 2002. Figure 34: Michael Jackson’s police mug shot. Santa Barbara 54 County Sheriffs Department. 2003. Figure 35: Mel Gibson’s police mug shot. Los Angeles County 56 Sheriffs Department. 2006. Figure 36: Paris Hilton’s police mug shot. Los Angeles County 58 Sheriffs Department. 2006. Figure 37: Heather Locklear’s police mug shot. Santa Barbara 59 County Sheriffs Department. 2008. vii PREFACE From an early age I knew that what I absorbed visually meant more, and stayed with me longer than anything I read or heard. I was a visual learner and felt I had an eye for the esthetic. Upon entering this very same graduate program I felt that with so much emphasis on the written form of public relations there was no focus placed upon our other main sensory, the visual. When words are written on a page they convey a message and take a reader into his or her own “theater of the mind” where images are inevitably conjured up based on the readers previous experiences and notions on a subject. I thought to myself that although this is all very important within the field of public relations, practitioners are omitting a very crucial and beneficial aspect to promoting their clients when they leave out the images in their communication. In this thesis, I have focused my studies on proving how important the power of visual imagery can be, the role that technology plays in the message, how visual imagery currently fits within public relations, and where it should be headed in the future. viii ABSTRACT Unlike the written or spoken word, visual imagery is able to transcend cultural boundaries, language barriers, and have a psychological impact on an audience. The ability to influence an audience’s opinion has been mastered by public relations professionals through the use of written language. In the past, the power of visual imagery has been overlooked, however, by public relations professionals. This work examines just how powerful visual imagery can be on its audiences, and what role it can play within the practice of public relations. A literature review examines the opinions and research of others in the fields of visual arts and communications. A collection of images is examined for the visual messaging the images provide, and the challenges surrounding the technology of disseminating the visual information is studied. The project concludes with how visuals specifically relate to public relations, and where this practice may prosper in the future. 1 CHAPTER 1: INTRODUCTION A. The Power of Visual Persuasion: Images play an important role in the practice of public relations. As consumers, practitioners and journalists become more comfortable in utilizing and understanding the technologies that disseminate this sensory information, public relations will offer a new avenue of communication. While the written word should continue to have an important purpose in communications, there are many factors to consider when moving toward a more visual practice of public relations. Before we can understand these factors, we must understand the power of visual imagery. Images are key in developing our consciousness and connecting the environment to ourselves. We learn who we are by seeing ourselves in images, as well as learning about others through images. We refer to our own personality as our self-image. 1 Even before we learn a language we understand the world around us through observing life with our developing eyes. To truly understand how images affect our emotions we must understand their three properties: their “iconicity,” their “indexicality,” and their inability to explicitly express an argument or thought. 2 Each of these properties allows visual images to be a powerful force upon our human emotions. The “iconicity” refers to the notion that images can imitate the icon of things as they appear in real life. For instance when a teenager 1 Hill, Charles A. and Helmers, Marguerite H. “Defining Visual Rhetorics.” 2 Leebron, Elizabeth J. “Visual Persuasion: The Role of Images in Advertising.” Journal of Broadcasting & Electronic Media, Fall, 1997. <http://findarticles.com/p/articles/mi_m6836/is_n4_v41/ai_n25024536> 2 sees a pop icon on television, she may start swooning and even run up to the television to kiss the screen. The tendency for her to see the screen image as if it were the real pop icon is an example of “iconicity.” The “indexicality” refers to the ways in which viewers are manipulated during the photographic process by persuasive images and that viewers are able to reference images we see and relate them to real life experiences. An example of this would be seeing before and after images in infomercials or “person-in-the-street” interviews about a product. The power here lies in that the viewer believes what he or she is viewing is a truthful documentary image. However, with production and editing, pieces have been removed and the viewer has not understood the entire segment he or she is viewing. The final property refers to the advantage in using an image because of its inability to state a generalization in the way that language can. Images cannot explicitly state what effect is to occur, for example, in the second after a photograph is taken. Leaving this open for imagination, however, is what makes images so powerful to the human mind. The parallels between our responses to pictures and our responses to the reality of our visual environment can be very similar and thus confusing for the mind to differentiate. 3 This is how advertising persuades the audience to make a purchase or support a cause. Whereas viewers and readers are aware that advertisements feature models and that commercials are primarily sprinkled with actors, when a message is given to an audience, there is a second when the mind is registering what it sees as reality 3 Ibid. 3 or as make-believe. This is especially true when an actor is portraying an everyday character such as a uniform-clad deliveryman or a housewife; the eye accepts the image as factual. It is the fine line between the reality of our visual environment and a visual image that introduces the property of “indexicality.” When audiences watch movies that portray love or death, they can get very emotionally involved, even when they know that actors are playing the parts of their favorite characters. What they observe is so close to reality that the mind cannot differentiate at that moment between these two states. B. Advertisers Embrace Visual Imagery: Being able to capture the attention of an audience is very difficult; the average American is confronted with 250 to 3,000 advertising messages everyday. Since time is so valuable, the correct message must be conveyed clearly and concisely. Visual communication is a way to achieve this. 4 Advertisers have been successful in expressing arguments or making claims in the absence of explicit verbal language. Visual images alone lack the explicit rules found in verbal language, and this has allowed advertisers to play with inferences through visuals that might otherwise be unacceptable if they were expressed in terms of a verbal statement. 5 While this method is a benefit to advertisers and could be useful to the public relations industry as well, public relations practitioners must be very cautious in how they use images so that they are not taken out of context or used incorrectly by the media. 4 O’Mara-Croft, Brian. “Every Picture Tells a Story.” Communication World Magazine. September-October 2008. 5 Ibid. 4 C. Bridging the Gap Between the Visual and the Written: Impressive visual messages paired with well-written text have the greatest power to inform, educate and persuade an individual. Because we live in such a visually consuming culture, public relations practitioners must be open to learning how to navigate the flood of visual stimulation, choosing the most meaningful images and pairing them with appropriate language. The Internet is emerging as the most important technological avenue in the marriage of these two very important public relations tools: words and pictures. With faster Internet connections and more accessibility to computers, companies and individuals are exploring new methods of promoting themselves, such as websites and blogs. Companies are beginning to demand a new, more visual approach to capture the attention of the Internet audience. 6 Even so, as the move to more of an image-based dissemination approach evolves, it’s important that public relations practitioners not overlook written communication. Words are still vitally necessary to provide substance and enhance the visual experience with factual details. 6 Brotman, Adam. “Picturing New Online Campaigns.” PRWeek.com. May 5, 2008. < http://www.prweekus.com/Picturing-new-online-campaigns/article/109701/> (Accessed January 20, 2009). 5 CHAPTER 2: METHOD In examining the power of visual imagery as it relates to public relations, I began by conducting interviews with public relations and visual experts, as well as conducting a literature review. I reviewed blogs, feature articles, newspaper articles, photo essays and books over a six-month period. Following this research, I composed a comprehensive list of images that seem to be the most powerful to American society. A close study of these images told me their implicit stories. I chose 16 images from the 20 th century to signify for me a historical evaluation, and nine images were chosen from this 21 st century as images show current events and emerging trends. I performed a thorough analysis of each image to understand the context in which the photograph or image was created. I studied body language, background settings, facial expressions, and drew from my own experiences with each image. I also provided a brief historical background to each image, so that the reader understood its context. For the remainder of this thesis I merged my findings from the literature review and the interviews I conducted. I then drew upon my own conclusions about the topics that were necessary to discuss when understanding the importance of visuals in public relations. 6 CHAPTER 3: POWERFUL VISUAL IMAGERY IN PRACTICE In the following pages I will examine 25 of what I believe to be the most powerful and moving photographic images captured in the last 64 years. I have chosen them to illustrate how simply looking at an image can emotionally touch someone without ever knowing the story behind the photograph. Each of the following photographs has a meaningful story to tell, as each symbolizes one second frozen in time. Even without a written accompaniment, the emotions of loss, hurt, joy, and hope can all be experienced by anyone who sees them. I will explain what was historically recorded surrounding the photograph, as well as offer my perspective of what someone may experience when looking at the image. My explanation is obviously just one of the many interpretations that can be extrapolated when looking at the very same image. Lastly, I will comment on how public relations practitioners can benefit from understanding the power of images like these. 7 A. Historical Photographs (1945-1999): 1. 1945: Marines raising flag at Iwo Jima. Photographed by Joe Rosenthal. Fig 1. Marines raising the flag at Iwo Jima. Photographed by Joe Rosenthal. 1945. This photograph shows five United States Marines and a U.S. Navy corpsman raising the U.S. flag. It was placed atop Mount Suribachi during the Battle of Iwo Jima in World War II. This photograph gained instant acclaim and was reprinted in many publications. It was awarded the Pulitzer Prize for Photography in 1945. 7 There has been controversy from historians and filmmakers as to whether this act was staged, however Rosenthal continued to claim this image was real even some 50 years later. 8 7 http://www.cameranaked.com/Photographs1940s.htm 8 Landsberg, Mitchell. “Fifty Years Later, Iwo Jima Photographer Fights His Own Battle.” AP.org. <http://www.ap.org/pages/about/pulitzer/rosenthal.html> (Accessed February 18, 2009). 8 Interpretation: The manner in which the soldiers on the left reach for the flagpole and in which the soldier on the far right seems to use all of his might in driving the pole into the ground suggests a sense of urgency. There is a battle being fought around them as these men are using their strength in numbers to get the job done quickly. 2. 1945: V-J Day, Times Square. Photographed by Alfred Eisenstaedt. Fig 2. V-J Day, Times Square. Photographed by Alfred Eisenstaedt. 1945. This photograph is also known as “The Kiss” and was taken at the end of World War II. On VJ Day (Victory over Japan Day, August 15, 1945), people poured onto the streets of New York to celebrate. This picture shows a sailor kissing a nurse in Times Square. The fact is he was kissing every girl he encountered and for this particular kiss, the nurse slapped him. 9 9 http://photosthatchangedtheworld.com/the-kiss-times-square/ 9 Interpretation: According to the couple’s body language, the sailor seems to be very excited to see his long-awaited love; however, upon closer examination, she is not very happy to see him at all. He has grabbed her so forcefully and surprisingly that her right leg is twisted, suggesting that she was turned around, and her left arm dangles to her side. She is not embracing him at all. In fact, the crowd that has gathered is smiling probably at the soldier’s audacity rather than in their sweet reunion. This image is one example of how audiences can perceive an image that is very far from the truth when there is no background accompanying the image of the subject(s) in the photograph. 3. 1950: North Carolina segregated water fountains. Photographed by Elliott Erwitt. 10 Fig 3. North Carolina segregated water fountains. Photographed by Elliott Erwitt. 1950. 10 http://photosthatchangedtheworld.com/segregated-water-fountains/ 10 Interpretation: In my research, there was no accompanying explanation for this photograph, but I chose it for its clear symbolism that in that era, African- Americans were viewed as second-class citizens. Not only were they required to drink from separate fountains, but also their fountains were less attractive, smaller, seemingly older and outdated, and only provided one spout. This image is indicative of modern editorial photography and clearly demonstrates the adage “a picture is worth a thousand words.” 4. 1951: Albert Einstein being humorous. Photographed by Arthur Sasse. Fig 4. Albert Einstein being humorous. Photographed by Arthur Sasse. 1951. Although Albert Einstein was considered a genius for creating the Theory of Relativity, his personality was quite peculiar and he was considered somewhat bohemian. 11 11 http://pinguy.infogami.com/blog/vwm6 11 Interpretation: This photograph reminds the audience that although Einstein was a genius, he was first and foremost a human just like everyone else who has a sense of humor. For the common viewer, celebrities are often held in such high esteem that we forget they have human emotions and, in the case of Einstein, are not so deadly serious all the time. 5. 1960: Guerrillero Heroico (Heroic Guerrilla). Photographed by Alberto Korda. Fig 5. Guerrillero Heroico (Heroic Guerrilla). Photographed by Alberto Korda. 1960. This photograph of Che Guevara was taken at a funeral service for victims of the La Coubre explosion (March 4, 1960). 12 It was not published until 1967. Che Guevara was 31 at the time of the photo. 13 12 “Dockworker set ship blast in Havana, American claims.” The Miami Herald. March 7, 1960. < http://www.latinamericanstudies.org/cuban-rebels/dockworker.htm> (Accessed February 18, 2009). 13 http://photosthatchangedtheworld.com/che-guevara/ 12 Interpretation: The feeling of loss, sadness, and anger can be observed in its entirety when looking at his facial expression, and one can understand the sense of emotion on his face. Without knowing what Guevara stood for, one does not have to look very far to see this image’s influence on popular culture. This image, which has been cropped, resized, and reproduced thousands of times in many different artistic styles, reflects Guevara’s anti-establishment attitude and evokes a sense of revolution and change. 6. 1963: Washington DC, MLK’s “I Have a Dream” speech. Photographed by Bob Adelman. Fig 6. Washington DC, MLK’s “I Have a Dream” speech. Photographed by Bob Adelman. 1963. 13 This photograph of Martin Luther King was taken during the climax of his “I Have A Dream” speech. He stands on the steps of the Lincoln Memorial and calls, “Free at last! Free at last! Thank God Almighty, we are free at last!” 14 Interpretation: You can almost hear King say “at last” when looking at this photograph. He used his hands to place emphasis on the words. Even looking at his facial expression, you feel the passion behind his words and know that what he said was significant. 7. 1963: Thich Quang Duc. Photographed by Malcolm Browne. Fig 7. Thich Quang Duc. Photographed by Malcolm Browne. 1963. Thich Quang Duc, a Buddhist priest in Southern Vietnam, burned himself to death protesting the government’s torture policy against priests. Thich Quang Dug never made a sound or moved while he was burning. 15 14 http://photosthatchangedtheworld.com/i-have-a-dream/ 15 http://pinguy.infogami.com/blog/vwm6 14 Interpretation: This image is surreal and unbelievably incomprehensible. The priest sits on the ground with a straight back and crossed legs. It is as if the fire has been painted around him and that he is completely unaffected by what is happening to his body. We can tell that he has burned himself since the can of gasoline sits very close to his side. You wonder what the spectators are thinking. They appear to be priests as well, all walking in the same direction, passing Thich Quang Duc as he silently protests. 8. 1963: JFK Jr. saluting President Kennedy at his father’s funeral. Photographed by Associate Press. Fig 8. JFK Jr. saluting President Kennedy at his father’s funeral. Photographed by Associated Press. 1963. This is part of a video clip of three-year-old John F. Kennedy Jr. saluting his father as the casket passed at the president’s funeral. JFK Jr. was standing 15 beside his mother, Jackie Kennedy, and his paternal uncle, Robert F. Kennedy. 16 While historians have posited that Jackie actually urged him to make the gesture, it is nonetheless, a powerful, heart-wrenching reminder of a tragic death. Interpretation: This heartbreaking image shows JFK Jr. acting years beyond his age as he talks to his mother and then quickly turns to salute his father as the casket passes them. Amidst all of the chaos surrounding JFK’s assassination, JFK Jr. reminds the country with this one single gesture that life is a cycle. New generations are born to bring change and hope to the country, even after such a devastating loss. 9. 1963: Johnson being sworn in. Photographed by Cecil W. Stoughton Fig 9. Johnson being sworn in. Photographed by Cecil W. Stoughton. 1963. Lyndon B. Johnson is photographed taking the presidential oath of office on November 22. He was sworn in as Air Force One carries his wife, Lady Bird, Jacqueline Kennedy and several White House aides back to Washington from 16 http://www.famouspictures.org/mag/index.php?title=JFK_jr's_salute 16 Dallas. This image was deliberately released to assure a shocked nation that everything was under control after their president, John F. Kennedy, was assassinated. 17 Interpretation: In the wake of the assassination of President Kennedy, the United States was at a loss and had no leader to look to. The hurried swearing in ceremony of President Johnson was crucial to moving on with a sense of control. The ceremony was obviously rushed in that it took place on a cramped Air Force One. There are at least 20 people visibly crammed into the airplane, suggesting that these individuals were important enough to be present at such an event. 10. 1968: South Vietnam police chief Nguyen Ngoc Loan shoots a young man. Photographed by Eddie Adams, Associated Press. Fig 10. South Vietnam police chief Nguyen Ngoc Loan shoots a young man. Photographed by Eddie Adams, Associated Press. 1968. 17 http://digitaljournalist.org/issue0309/lm14.html 17 Nguyen Ngoc Loan, South Vietnam’s national police chief, is about to shoot a prisoner who was said to be a Viet Cong captain, in an effort to suppress a guerilla uprising. Adams won a Pulitzer Prize for this photograph, which was one of many to turn public opinion against the Vietnam War. 18 Interpretation: This image illustrates a lack of respect for human life as this man is about to be shot in cold blood. The reason the image was one of the many to turn public opinion against the Vietnam War is the devaluation of human life. This image told the American people a story of what was taking place in a war they were directly involved with. The fear across the man’s face is painful to witness, and one can only imagine the thoughts that torture him. 11. 1968: Earthrise. Photographed by William Anders, NASA. Fig 11. Earthrise. Photographed by William Anders, NASA. 1968. 18 http://digitaljournalist.org/issue0309/lm12.html 18 Captured on Christmas Eve, 1968. This image is featured on a U.S. postage stamp and several book covers. 19 Interpretation: This photograph would have been especially inspiring to those who saw it for the first time in the late 1960s. It should always serve us a reminder of our place within the universe, and how we are merely a minor piece within an infinite cosmos. 12. 1969: Buzz Aldrin salutes US Flag. Photographed by Neil A. Armstrong. Fig 12. Buzz Aldrin salutes US Flag. Photographed by Neil A. Armstrong. 1969. Astronaut Buzz Aldrin poses for a photograph beside the United States flag during an Apollo 11 Extravehicular Activity on the moon. 20 Conspiracy 19 http://photosthatchangedtheworld.com/earthrise/ 20 http://www.countdowncreations.com/autogbasalute16x20.htm 19 theories hypothesize that this and similar photos were actually staged and shot on training mock-up sets. 21 Interpretation: Aldrin’s appearance and surroundings are foreign to most people, especially to audiences who saw these images in the late 1960s. He salutes everyone who sees this image as if to say “mission accomplished, we’ve made it to the moon.” The image’s power comes from the reality of his experience. None of us are able to understand where he is or how he feels there, but we know he is literally in another world. It is as if he leaves his shadow and footprints on the moon’s surface for us, as an ambassador from Earth. 13. 1972: Kim Phuc Running From Napalm Attack. Photographed by Huỳnh Công Út. Fig 13. Kim Phuc Running From Napalm Attack. Photographed by Huỳnh Công Út. 1972. 21 “One Giant Leap of Imagination.” Theage.com.au. December 24, 2002. < http://www.theage.com.au/articles/2002/12/24/1040511043172.html>. (Accessed February 18, 2009). 20 Phan Thị Kim Phúc known as Kim Phuc can be seen running, at age nine, after being burned by napalm during the Vietnam War. She is the nude individual in the center of the photograph. 22 Interpretation: Everyone in the photograph is frantically running away from the daunting napalm cloud chasing them from behind. The look of fear and torture on Kim Phuc’s face is unforgettable and forces the audience to only imagine what has just happened. She is running from this danger that has just literally burned the clothes off of her back, and yet she is still not safe. 14. 1984: Pakistan, National Geographic Afghan Girl. Photographed by Steve McCurry. Fig. 14 Pakistan, National Geographic Afghan Girl. Photographed by Steve McCurry. 1984. 22 http://pinguy.infogami.com/blog/vwm6 21 McCurry had a rare opportunity when photographing this girl, as it is very rare for a man to view an Afghan woman’s face. She was on the cover of National Geographic and remained a mystery until 1992 when she was revealed to be Sharbat Gula. At the time the photograph was taken, she was 12 years old. She and her family now live in Pushtun, an ethnic region in Afghanistan. 23 Interpretation: McCurry’s photograph is moving for so many reasons, but the most gripping feature of this photograph is the girl’s piercing green eyes. Not only is their color strikingly different from her dark hair and skin, but also the emotion they exude raises hairs. Her wide eyes emanate a sense of fear and her pursed lips nervousness, as if she anticipates for someone to see her violating Islamic code by showing her face to a man. Her clothes are tattered and her hair is unkempt, which suggests that she leads a destitute lifestyle. McCurry’s eye for color is especially impressive in this photograph as the background and the garment under her wrap match her green eyes. He plays with contrast very carefully, which alone is extraordinary. 23 Braun, David. “How They Found National Geographic's “Afghan Girl.’” National Geographic News. March 7, 2003. <http://news.nationalgeographic.com/news/2002/03/0311_020312_sharbat.html> (Accessed January 12, 2009). 22 15. 1989: A man in China stands before tanks during protests for democratic reforms. (Tiananmen Square) Photographed by Jeff Widener, Associated Press. Fig 15. A man in China stands before tanks during protests for democratic reforms. (Tiananmen Square) Photographed by Jeff Widener, Associated Press. 1989. A small hunger strike by 3,000 students in Beijing had grown to a protest of more than a million as the Chinese demanded reform. For seven weeks the people and their government were strained. This young man, who would not move, was one of the first to openly protest. The tank driver refused to crush the man, and instead drove around him. Soon after, the fighting ensued and there was bloodshed on Tiananmen Square. 24 Twenty years later, the man’s identity is still unknown. 25 24 http://digitaljournalist.org/issue0309/lm25.html 25 Iyer, Pico. “The Unknown Rebel.” The Time 100. April 13, 1998. <http://www.time.com/time/time100/leaders/profile/rebel.html> (Accessed February 18, 2009). 23 Interpretation: Just by looking at this photograph and not necessarily knowing what is taking place, there is an uneasiness and uncomfortable feeling of what is to come next. This photograph makes the audience wonder what will happen to the man. It is also a photograph about heroes. The young man who stood in front of the tank was ready to end his life in protest for the freedoms in which he believed. This image served as a symbol to the Chinese that there can always be hope as long as people have the will to fight for their rights. 16. 1996: Video clip of Bill and Monica hugging. Photographer Unknown. Fig 16. Video clip of Bill and Monica hugging. Photographer Unknown. 1996. This photograph is a still image taken from a video clip shot on November 6, 1996, the day after Clinton’s re-election to office. When the Clinton-Lewinsky affair broke in 1998 this clip was published and televised all over the world as evidence of their relationship. 26 26 http://www.worldsfamousphotos.com/bill-clinton-hugs-monica-lewinsky-1996.html 24 Interpretation: The clip in its entirety shows a flirtatious Monica Lewinsky who briefly hugs and chats with President Clinton. I chose to include this image because it symbolized a period in time when a scandal such as this affected our country. B. Contemporary Photographs (2000-Present): 1. 2000: Jennifer Lopez’s Grammy dress. Photographed by Frazer Harrison, Getty Images. Fig 17. Jennifer Lopez’s Grammy dress. Photographed by Frazer Harrison, Getty Images. 2000. Jennifer Lopez’s famous Versace dress was highly discussed in the media when she wore it to the 2000 Grammy Awards. 25 Interpretation: There was a lot written about this dress for months after Lopez wore it to the 2000 Grammy Awards. It is one example of how images in fashion can make a huge impact upon American culture. To this day, people remember this dress as the “J-Lo dress.” It is especially startling because of its hint of nudity. Lopez clearly intended to make a statement that she was a power to be reckoned with and she has since proven just that. 2. 2001: 9/11 The Falling Man. Photographed by Richard Drew. Fig 18. 9/11 The Falling Man. Photographed by Richard Drew. 2001. This image shows a white-collar World Trade Center employee jumping from dozens of stories above the ground. This photograph was printed in newspapers only once as readers who felt the photo was disrespectful of the dead 26 became angry and wanted the image pulled. This led to the media’s self- censorship of this and any similar images that were deemed irreverent. Interpretation: This image captures the horror Americans were experiencing during the attacks. It was this man’s own choice to jump rather than die from suffocation or fire inside his own place of work. In essence the photographer captured a choice he made in his life, rather than capturing his death. As he gracefully drops, albeit morbidly, he seems very calm, clasping his hands behind his back with a straight posture. Looking closely, he is positioned between both towers (his own on the left in the foreground and the other on the right in the background). 3. 2001: World Trade Center buildings burning. Photographed by various. Fig 19. World Trade Center buildings burning. Photographed by various. 2001. 27 Interpretation: This very same image shot from hundreds of different angles is one that will remain burned in the memory of those of us who lived through this time in American history. The image itself is quite unbelievable; to see a jet airliner so unbelievably close to skyscrapers in New York City. Because it was repeated so many times in the media, it is one of the first images that come to mind when Americans think of 9/11. 4. 2001: Cross is found within rubble. Photographed by Associated Press. Fig 20. Cross is found within rubble. Photographed by Associated Press. 2001. Two days after the attacks, a construction worker found several cross shapes in a pit of rubble from the 6 World Trade Center building. The metal beams happened to fall this way as the towers collapsed. They were the joints that 28 were left intact from the building’s construction. Many thought of these crosses as religious symbols of hope in a time of such despair. 27 Interpretation: Although it was pure coincidence that the World Trade Center buildings fell down around these beams, the fact that these joints stayed in tact during such powerful destruction serves to remind us of a few things. Whether the viewer is religious or not, these crosses represent the memory of the buildings and the people who were destroyed on 9/11. These photographs will always serve as reminders that even when everything may be crumbling, the memory of what happened can never be erased. 5. 2001: Flag raising at Ground Zero. Photographed by Thomas E. Franklin. Fig 21. Flag raising at Ground Zero. Photographed by Thomas E. Franklin. 2001. 27 http://wasearch.loc.gov/sep11/20010923163745/http://www.nypost.com/commentary/461 3.htm 29 Shot by Thomas E. Franklin, of The Bergen Record, the photo first appeared on Sept 12, 2001 under the title, Ground Zero Spirit. The paper also put it on the Associated Press wire and it appeared on the covers of several newspapers around the world. This photo is often compared to the famous Flag On Iwo Jima photograph taken by Joe Rosenthal during World War II (mentioned above). The photo was distributed worldwide and was a finalist in 2002 for the Pulitzer Prize in breaking news photography. 28 Interpretation: Although this image is often compared to the Iwo Jima image, the attitude it conveys is quite different. The three firefighters are obviously tired and dirty from digging through the rubble (seen in the background) for any survivors. They seem to be taking their time in raising the flag, as the man on the left puts his right hand in his belt loop. Their raising of the flag is not a symbol of victory or claiming ground, but of remembrance and respect for all that was lost. It is also a symbol of hope and for moving on; that as long as we can always remember what happened, we will become a stronger nation. 28 http://www.famouspictures.org/mag/index.php?title=Raising_the_Flag_at_the_WTC 30 6. 2003: Removal of Saddam Hussein’s statue. Anonymous photographer. Fig 22. Removal of Saddam Hussein’s statue. Anonymous photographer. 2003. The statue of Saddam Hussein was a symbol of his presidency and rule over Iraq. It was built in April of 2002 for his 65th birthday. On April 9, 2003 a group of Iraqis and U.S. Marines gathered and yanked the statue down. This event was later said to have been a media-staged photo opportunity. 29 Interpretation: This is a very famous image of the Iraq War. What was once a symbol of pride in Hussein’s life, suddenly became a piece of scrap metal. As the United States was trying to end Hussein’s regime and rule over Iraq, so were many of his own countrymen by physically destroying his statue. For many, this symbolized the beginning of the end for Saddam. 29 http://www.worldsfamousphotos.com/the-toppling-of-the-saddam-statue-2003.html 31 7. 2004: Abu Ghraib prison tortures. Photographed by U.S. Military. Fig 23. Abu Ghraib prison tortures. Photographed by U.S. Military. 2004. Several dozen photographs were taken of Iraqi prisoners of war as they were tortured and humiliated by U.S. Military personnel in the Abu Ghraib prison. The images that surfaced were seen around the world and depicted the U.S. Military as savage leaders. The U.S. was in Iraq to bring peace and instead conducted inhumane methods of questioning. Interpretation: These are also some very famous images from the Iraq War that will perpetually linger to serve as a reminder that someone is always watching. These images are a testament to the power of visual imagery and that it can tarnish a reputation forever. Without ever having read what was being done to these individuals, one can understand the severity of the situation just by seeing the photographs. 32 8. 2004: Tsunami floating bodies. Photographer unknown. Fig 24. Tsunami floating bodies. Photographer unknown. 2004. The December 26 th tsunami that struck Thailand in 2004 caused approximately 350,000 deaths and many more injuries. 30 Interpretation: Images that were aired on televisions and printed in newspapers around the world could never capture the devastation of what happened on that day; however, they provided a sense of the tsunami’s magnitude. In the specific image included in this project, it appears as though the audience is viewing scraps of wood and debris floating in the water. With a closer look, it becomes more obvious that there are human bodies floating within that debris. An arm or torso seen in these images belongs to someone who once had a life and a family. The images from the tsunami remind us of the fragility of life, and that everything can change in an instant with one devastating act of nature. 30 http://photosthatchangedtheworld.com/tsunami-floating-bodies/ 33 9. 2008: Shepard Fairey’s Obama Posters. Artwork by Shepard Fairey. Fig 25: Shepard Fairey’s Obama Poster. Artwork by Shepard Fairey. 2008. The posters, which are images of Obama’s shoulders and face, exist in a few versions, with the words “Hope,” “Change” or “Progress.” Obama’s camp embraced the artist and asked him to create more versions of the image. 31 At this writing, the artist is under investigation for plagiarism by the Associated Press for taking a 2006 photograph of Obama, taken by AP photographer Manny Garcia, and making it his own. 32 Interpretation: This style, while frequent in popular culture, appeared here for the first time in political campaigns. Similar to the interpretation of Che Guevara’s 31 http://www.latimes.com/news/opinion/la-oe-daum12apr12,0,5472791.column 32 Cherkis, Jason. “Is Shepard Fairey A Plagiarist?” WashingtonCityPaper.com. February 4, 2009. < http://www.washingtoncitypaper.com/blogs/citydesk/2009/02/04/is-shepard- fairey-a-plagiarist/> (Accessed February 18, 2009). 34 photograph mentioned above, Fairey’s version has elevated President Obama’s status to a true revolutionary with a vision to move the United States onto a greater future. Obama’s gaze is a determined one and he appears to be looking ahead to the future. There does seem to be a sense of idol worship when looking at the image, but Fairey’s intention to build President Obama’s image as a leader who will bring about change was successfully powerful. It even moved audiences to purchase t-shirts, pins, bumper stickers and the like in rallying for this candidate. As can be witnessed in the powerful images described above, a photograph can tell a story, perhaps more effectively than with just words alone. Along with this power comes a responsibility that must never be disregarded when using images and photographs to accompany a written statement. Once public relations practitioners begin manipulating images even in the slightest, the story and credibility of the communication begins to waiver. 35 CHAPTER 4: TECHNOLOGY IMPACTS THE CREDIBILITY OF VISUAL IMAGERY The advent of digital photography changed the world of visual imagery and its credibility forever. The validity of photographs is almost always questioned, even when coming from a reputable source. Technology has made it possible to manipulate photography so convincingly with simple computer programs, such as Adobe’s Photoshop, that even a trained eye cannot recognize forged images. 33 Instructors who teach classes about these programs should explicitly provide a disclaimer about observing ethical standards and not altering any images that may be viewed as journalistic. Images that are published without cautioning that the image has been altered run the risk of defying an ethical code. But who determines this code and how much editing is acceptable? Much like public relations professionals are sometimes criticized for using “buzz words” and “fluff” in their writing, and “spinning” stories to put their clients in the most favorable position, photographers and publicists who incorporate visual imagery in their press releases and materials to the media should always remain cognizant of their duty to accuracy and work to deviate from the stereotypes. A. The Ethics of Editing Photography: Many photojournalistic organizations have created a code of ethics for their photojournalists to follow when taking photographs as well as during editing for the final 33 Salvo, Suzanne. “True Lies: Manipulating Images. Is it ethical?” Communication World Magazine. September-October 2008. 36 layout. The Webster University Journal has created its own “Policy for the Ethical Use of Photographs” in Photojournalism. The following list covers what is and is not acceptable: 1. Photojournalism/news—allowed manipulation: Brightness/contrast control; burning and dodging to control tonal range; color correction; cropping dead space from a frame to fit layout; retouching of dust and scratches. 2. Photojournalism/news—never allowed: Adding, moving or removing objects within the frame; color change other than to restore what subject looked like; cropping frame in order to alter its meaning; flopping a photograph (left/right reversal); printing a photograph in other than ‘true’ orientation. 34 Just as in written journalism, photojournalists should adhere to a similar code of ethics by using images that are truthful, honest and objective. Images should be presented to audiences from the live (meaning actual) perspective the photographer had of his or her subject before the photograph was taken. Using staged lighting or leaving subjects out of a photograph that should be there during the moment of capture is as much manipulating an image as using a software program. 35 The camera lens is a photographer’s form of language. It is a tool that can be altered and adjusted to produce the best possible coverage for a client. The photographer must also keep in mind, however, that this tool, just like language, should be used to portray the truth with accuracy and integrity. 34 Ibid. 35 Ibid. 37 Some public relations practitioners may find no issues with cropping out significant individuals or objects from a photograph that is included and accompanied with a written statement, or even using computer software programs that edit or enhance a subject. It must be kept in mind, however, that engaging in these actions can be considered the same as using “fluff” or overly descriptive words when writing or talking about a client or product, and that while there is no formal ethical code for public relations practitioners to follow, a certain level of discretion should be maintained. B. Brian Walski Example: When Is “Photoshopping” Acceptable?: “Photoshopping” (the digital editing of photographs) at any level is considered fairly common practice in fashion magazines, and even the Dove campaign for natural beauty created a video exposing this practice. The purpose of the video is to show how a ‘plain’ woman goes through the lengthy process of hair, make-up, and Photoshopping to make her look ‘beautiful.’ 36 While the intent is to enhance this woman’s appearance and not alter the overall content of the photograph she takes, there is a deception occurring. Photographers have always cropped for the best presentation; however, when Photoshop is overused, the line between slight alterations and the production of harmful or untruthful material gets blurred. Ethics are questioned when photographers use Photoshop to even slightly alter a picture from its original state. 37 Brian Walski was one such photojournalist who, in 2003, violated the ethical code when his editors at the Los Angeles Times discovered that his 36 http://www.campaignforrealbeauty.com/ 37 Ibid. 38 page-one photograph was in fact bogus. He combined two of his own photographs from the Iraq War to “improve” his subject matter. Walski’s editing exceeded the notion of brightness control or color correction when he created an amalgamation of two photographs so that he could capture the highlights from each into one single image. Fig 26. Brian Walski’s original photo A. Los Angeles Times. 2003. Fig 27. Brian Walski’s original photo B. Los Angeles Times. 2003. 39 Fig 28. Brian Walski’s composite photo. Los Angeles Times. 2003. In the first photograph, a man holds a child and looks up at the soldier while the soldier looks away. In the second photograph, the man and child are farther into the background, while the soldier looks in their direction with a dramatic stance and raised hand. The falseness of the image was discovered when an employee noticed some duplications of people and other components in the final image. 38 When questioned about his actions, Walski said it was a “complete breakdown in judgment” that came from the stress of his assignment. “I have tarnished the reputation” of the Los Angeles Times. He went on to say “I have always maintained the highest ethical standards throughout my career, and cannot truly explain my complete breakdown 38 Van Riper, Frank. “Manipulating Truth, Losing Credibility.” WashingtonPost.com. <http://www.washingtonpost.com/wp-srv/photo/essays/vanRiper/030409.htm> (Accessed January 8, 2009). 40 in judgment at this time. That will only come in the many sleepless nights that are ahead.” 39 In Walski’s case it was not that he completely changed the meaning of the photograph, but that by making substantial edits, his credibility was compromised. He was subsequently fired by the Los Angeles Times, and severely crushed his 20-year career in the news business. His dismissal sparked a heated debate within the journalistic community over the ethical implications of his manipulations. Those who did not see Walski’s actions as unethical made the case that he was merely improving his work much in the way writers use their language to communicate clear material. Pedro Meyer was one such photographer who wrote on his website, zonezero.com, that, [The Los Angeles Times has] fired someone for doing a professional job in trying to come up with a better picture, the same way that any of its journalists polish a text so that it reads better and is succinct. (why should a photographer be deprived of doing exactly the same that other professionals are doing on a daily basis as long as the information is not distorted?). The only explanation I can find, is that by accusing the photographer and attempting to portray themselves as publishing “unmanipulated” news, they are seeking to conceal the factual reality of their biased and one-sided presentation of the overall news. That seems to be the more important issue at hand. 40 Meyer suggests that if we are to equate a photo editing software to a writer’s use of language, then there is nothing unethical about Walski’s actions. Walski was merely 39 Ibid. 40 Meyer, Pedro. “The LA Times Fires a Photographer.” Zonezero.com. <http://zonezero.com/magazine/articles/altered/altered.html> (Accessed January 10, 2009.) 41 cleaning up his work to create a better product. While Meyer offers a very valid argument, there were others who disagreed with his analogy. Frank Van Riper, a veteran Washington Post photographer, commented on Meyer’s quote stating that, Any reporter worthy of the name would no sooner fiddle with direct quotes than a reputable photojournalist would alter his or her picture. Remember: news photographs are the equivalent of direct quotations and therefore are sacrosanct – the situational ethics of Walski's apologists notwithstanding. To be sure, just as a writer can, in the interest of brevity or impact, choose which quotes to use in a story, so can a news photographer or picture editor crop out dead space in a news photo, or use the electronic equivalent of dodging or burning in to make a picture reproduce better. But the key elements of a news photograph, like the key words in a direct quote, simply are off limits to manipulation. In this, I am reminded of what a Washington Times shooter once told me. On a computer outside the paper's darkroom, she said, there was plastered this flat admonition and warning: “If you can't do it in the darkroom, don't do it here.” 41 The fact of the matter is that Walski tried to pass the image off as real hard news. Even if the two images were shot within seconds of each other, Walski purposely edited the content and meaning of the image by creating a direct interaction between the solider and the man holding the child. In both original images, there is absolutely no interaction between the subjects. In fact, the soldier appears to be directing his attention to the men sitting in front of him, when holding up his hand. It is not Photoshop, or other similar 41 Van Riper, Frank. 42 computer programs, that should be looked at as unethical, but the photographer’s discretion of manipulating an image, during a shoot and in post production. 42 C. Photoshopping In Public Relations: When photojournalists, who are expected to present accurate and truthful photographs, are questioned for their credibility, it seems to be that much more difficult for publicists to gain respect when working with images. Digitally editing images is a frequent occurrence when dealing with celebrities. Most often, celebrity publicists have the last word when it comes to their client’s image being published online and in magazines. Actress Jessica Alba was one such celebrity whose photographs recently went through Photoshop in preparation for the 2009 Italian liquor, Campari, advertising campaign. Alba, who gave birth to her daughter in June 2008, appeared to be in great shape during her September photo shoot for Campari. 43 When analyzing both before and after photographs, however, she appears to have two to three inches removed from her waist and hips, and lighting adjustments made to her breasts so they appear larger. It is difficult to say whether the decision to Photoshop her images came from Alba’s camp or 42 Ibid. 43 Daily Mail Reporter. “She may be one of the most beautiful women in the world... but that doesn't stop Jessica Alba from getting airbrushed.” Daily Mail Online. December 8, 2008. <http://www.dailymail.co.uk/tvshowbiz/article-1091451/She-beautiful-women- world--doesnt-stop-Jessica-Alba-getting-airbrushed.html> (Accessed January 10, 2009). 43 from the liquor company itself, but a source close to the actress told US Weekly, “Sure it was airbrushed. They wanted her to look perfect.” 44 Fig 29. Jessica Alba’s before Photoshop and after Photoshop photographs. Photographed by Mario Testino. 2008. If publicists decide that using Photoshop on a client’s photograph is absolutely necessary, then it is the responsibility of the publicist to inform the magazine or newspaper of the edits before they accept the images, says Les Dunseith, Design Director Administration at the Los Angeles Times. 45 At that time, they can decide whether or not they will use the provided image. He continued by saying that some magazines, such as fashion and gossip magazines, and other Internet publications may not hold the same 44 “Jessica Alba’s Waist Majorly Photoshopped.” HollywoodRag.com. December 12, 2008. <http://www.hollywoodrag.com/index.php?/weblog/jessica_albas_waist_majorly_photos hopped/> (Accessed January 10, 2009). 45 Dunseith, Les (Design Director Administration, Los Angeles Times), interviewed by author, December 16, 2008. 44 standard of accuracy in the images they publish as compared to reputable newspapers, such as the Los Angeles Times. Often it comes down to the ethics and artistic style of each individual publication. Dunseith used the Orlando Sentinel as an example of one such newspaper that employs more colors and visuals. The editors’ use of stock photography, shown either as it was taken or manipulated, offers a more dramatic package for the reader. Keeping to its journalistic ethics, however, the Sentinel disclaims to the reader by labeling such images as photo illustrations that what they see is not meant to be shown as a newsworthy photograph, but is to be understood as merely an artistic feature of the story. 45 CHAPTER 5: TECHNOLOGY IMPACTS THE LIFESPAN OF VISUAL IMAGERY The beauty of the Internet is that anyone can find information about anything at any time. It has forced traditional sources of information, including encyclopedias, books, magazines and newspapers, to go digital. This also means that any information posted to the web is available for all to see and everything posted can be Googled and accessed instantaneously. This convenience also has created a dilemma for those who wonder where their photographs go once they are posted, and who sees them. A. The Social Networking Factor: With social networking websites (internet communities of people who share interests and/or activities) such as Facebook, Myspace, and Friendster becoming more popular, Internet surfers with no real technical experience are evolving into website creators and are posting their own pictures to the black hole of cyberspace. More than 30 million photos are uploaded daily on Facebook, and the site is currently the number one photo sharing application on the web. 46 Once those images are posted, however, they are living in the perpetual and very public memory of the Internet. Nearly everyone with a Facebook or Myspace page has either posted photographs of him or herself or has been tagged by others who have posted their photographs. While these sites allow you to control the privacy of your own page, the reality is that once an image has been uploaded to the web it can be copied, posted elsewhere and potentially cause damage to one’s reputation and career. Public relations practitioners must 46 Facebook.com, Pressroom 46 continually strive to educate themselves in Internet literacy and social networking websites, as these platforms will ultimately be the new avenues of communication for their clients, and at the same time could also be their demise if damaging photographs are released. Employers are utilizing social networking sites to screen potential hires, sometimes even before the candidate is brought in for an interview. Facebookers and Myspacers must always be aware of the image they are portraying to the public because it may not just be their friends who are viewing their photographs. “If you have your privacy set properly, you really are controlling every aspect of how your profile is viewed,” said Brandee Barker, a Facebook spokeswoman. 47 A 2008 survey by the Society for Human Resource Management found that 34 percent of its members said they currently use social networking sites to recruit potential applicants. This number is very high, and as employers collectively become more computer savvy it will increase. 48 A social networker will never know what images will be seen as offensive by an employer, so it would be a safe bet to limit profiles as much as possible. Once an image is posted to the web, all rights should be considered to be waived by the poster. As part of Friendster’s Terms of Service, it is explicitly stated that, 47 Chol, Candice. “Prying Eyes: Be Smart About Your Online Profile.” TheSaltLakeTribune.com. January 12, 2009. <http://www.sltrib.com/technology/ci_11417646> (Accessed January 14, 2009). 48 Ibid. 47 Rights in Content Posted by You. By publishing, displaying or uploading (collectively, “Posting”) any text, links, photos, video, messages or other data or information (collectively, “Content”) on or to the Website (including on or to your profile), you automatically grant, and you represent and warrant that you have the right to grant, to Friendster an irrevocable, perpetual, nonexclusive, fully- paid and worldwide license to use, copy, perform, display and distribute such Content and to prepare derivative works of, or incorporate into other works, such Content and to grant and authorize sublicenses of the foregoing. 49 Basically it states that by posting any content (including photographs) to their website, you agree that you have effectively granted the authority to Friendster to license, use and distribute your personal material as they see fit. Facebook disclaims a similar Terms of Service and adds that, You may remove your User Content from the Site at any time. If you choose to remove your User Content, the license granted above [which is similar to Friendster’s] will automatically expire, however you acknowledge that the Company may retain archived copies of your User Content. 50 Again, Facebook is explicitly stating that you are giving away the right to keep copies of all of your information, even after you have deleted your page. While these websites state that they strive to maintain the utmost level of privacy for their users, what they really mean is privacy from the general public, excluding themselves. The truth is that once a web surfer is willing and able to post information about themselves on the Internet, on 49 “Terms of Service”. Friendster.com. <http://www.friendster.com/info/tos.php> (Accessed January 14, 2009). 50 “Terms of Service.” Facebook.com. <http://www.facebook.com/terms.php?ref=pf> (Accessed January 15, 2009). 48 any platform, they automatically waive all rights of full control over this information forever. B. Photographs Never Completely Go Away: From September 29 to October 31, 2008, Google, the popular search engine, proved just how much Internet information is archived and kept in memory, even if it is no longer searchable on the web. In celebration of its 10 th birthday, Google created a separate search engine (http://www.google.com/search2001.html) that rendered search results from sites that were live in 2001. The purpose of this feature was to remind Google users what the web looked like in early 2001. 51 If you searched for an “iPhone” or “Youtube,” it did not exist. A search for Michael Phelps rendered the scientist and not the swimmer. Google collaborated with Internet Archive, a non-profit organization created to serve as an Internet library of web pages, as its source of information during the 2001 index. The purpose of Internet Archive is to offer permanent access to researchers, historians, and scholars to historical digital web content. They are working with other web preservation organizations such as UC Berkeley’s Digital Library Project, the Online Computer Library Center, and Alexa Internet, to offer access to archived versions of web pages even after they have been removed from the web. 52 51 “2001: A Search Odyssey.” The Official Google Blog. September 30, 2008. <http://googleblog.blogspot.com/2008/09/2001-search-odyssey.html> (Accessed January 15, 2009). 52 “About the Internet Archive.” Archive.org. <http://www.archive.org/about/about.php#storage> (Accessed January 15, 2009). 49 It seems as though any image can be searched for on the web, which serves as a very powerful public relations tool, but can also be a nightmare, especially for the celebrity publicist. Celebrity news gossip has been popular for as long as audiences have been infatuated with the power of celebrities. While many celebrities aim to stay out of the press when it comes to their personal lives, others seem unable to escape it. C. The Perpetuity of Images in Public Relations: The most hurtful and infamous celebrity image is the inescapable police mug shot. For those celebrities who overstep the boundaries of the law, the mug shot is the image that will forever tie them to their crime, and it may even outlive the memory of the crime committed. These days it seems as if most famous celebrities have had one taken one. The collection ranges from the usual suspects such as Snoop Dog, Eminem and 50 Cent, whose record sales have actually benefited from the material they collected while serving time, to the celebrities with successful, reputable careers such as Larry King and Bill Gates. 53 The fact of the matter is that because audiences have a mysterious love-hate relationship with celebrities, their downfalls remind us that they are human and make mistakes just like the rest of us. Thinking back to every celebrity mug shot I have seen either on the Internet, in celebrity magazines, or on television, a few have stood out in my mind. The following is a list of the top celebrity mug shots, an explanation of why they were incarcerated, and my examination of why this image was so memorable and influential in the celebrity’s career. Images are organized chronologically: 53 < http://www.mugshots.org/hollywood/pee-wee-herman.html> (Accessed January 15, 2009). 50 • Paul Reubens, a.k.a. “Pee-wee Herman”: Fig 30. Paul Reubens’ police mug shot. Sarasota County Sheriff’s Department. 1991. Reubens was arrested on July 26, 1991, for masturbating in an adult movie theater. He got away with paying a $50 fine and community service, but his career as a children’s television star on The Pee-wee Herman Show and Pee-wee’s Playhouse was severely jeopardized. 54 In fact his look in the mug shot is quite incriminating. Because Reubens conducted his interviews and public appearances as Pee-wee Herman, the character, they became one and the same. Audiences began to equate this happy and cheerful children’s character with a criminal. Although he was arrested after the show had finished production, CBS pulled the five remaining reruns of Pee-wee's Playhouse. Disney-MGM Studios suspended 54 “Pee Wee Herman” mug shot. < http://www.mugshots.org/hollywood/pee-wee- herman.html> (Accessed January 15, 2009). 51 from its studio tour a tape in which Pee-wee explains how voice-over tracks are made, and Toys-R-Us removed Pee-wee toys from its stores. 55 The career he had built for himself around this character was ultimately destroyed. • O.J. Simpson: Fig 31. O.J. Simpson’s police mug shot. Los Angeles County Sheriffs Department. 1994. Former football icon O.J. Simpson was arrested in June 1994 and charged with murdering his ex-wife Nicole Brown Simpson and her friend Ronald Goldman. This mug shot is one of four of Simpson (he was booked three other times: September 2007, January 2008, and October 2008, all having to do with his Las Vegas robbery and kidnapping case). The 1994 mug shot is the most famous, as it became his portrait during the highly televised trial, which garnered national attention. Because 55 Burr, Ty. “Pee-wee and Sympathy.” EntertainmentWeekly.com. <http://www.ew.com/ew/article/0,,315140,00.html> (Accessed January 15, 2009). 52 of his very public trial, this mug shot fed into the suspicion of his guilt, even though he was acquitted by the jury in the criminal trial. • Hugh Grant: Fig 32. Hugh Grant’s police mug shot. Los Angeles County Sheriffs Department. 1995. The actor was arrested in June 1995 on a misdemeanor for lewd conduct when he was caught with a prostitute. Soon after his arrest, Grant went on a slew of interviews and publicly apologized with transparency for his actions. 56 Although his mug shot is one that will never be forgotten, his awkward stance and shrugged shoulders suggest his embarrassment, while his public actions after the arrest helped to regain some dignity. 56 “Spin cycle: Hugh Grant finds "honesty" best policy.” CNN.com. July 17, 1995. <http://www.cnn.com/SHOWBIZ/HughGrant/> (Accessed January 20, 2009). 53 • Nick Nolte: Fig 33. Nick Nolte’s police mug shot. Los Angeles County Sheriffs Department. 2002. Actor Nick Nolte was arrested on September 11, 2002, and charged with driving under the influence of alcohol and drugs. His mug shot truly illustrates what his state of mind was during his arrest. Unfortunately, this is the image many people think of when they hear his name. Mel Gibson was even quoted during an interview with Diane Sawyer on Good Morning America, as thinking about Nolte’s picture after his own infamous 2006 DUI arrest (mentioned below). He claimed to have slicked back his hair before having his mug shot taken because he wanted to avoid looking like Nolte’s famous DUI shot. “The first thing that went through my mind was Nick Nolte's photograph…So I did my best with a finger combing in the water fountain, to sort of like splash a little water on my face, to not take one of those hideous mug 54 shots…Because I knew it would be around. So, vanity won out!” 57 Even in his drunken state of mind, Gibson was haunted by Nolte’s photograph and the lasting effect it might have on his image. • Michael Jackson: Fig 34. Michael Jackson’s police mug shot. Santa Barbara County Sheriffs Department. 2003. Michael Jackson was arrested on November 20, 2003 on suspicion of child molestation. The allegations came almost 10 years after Jackson had settled a lawsuit on behalf of another boy who spent the night at Neverland Ranch when he was 13- 57 Wenn. “Gibson Feared Nolte-Styled Mug Shot.” Hollywood.com. October 13, 2006. <http://www.hollywood.com/news/Gibson_Feared_NolteStyle_Mugshot/3565400> (Accessed January 15, 2009). 55 years-old. 58 In May of 2005, Jackson was finally tried for this crime and was subsequently acquitted on all counts. 59 Following his acquittal, Jackson moved his family to the Persian Gulf island of Bahrain to escape the public eye, and has remained there ever since. 60 Jackson was known to have leaked disturbing stories to the press for media attention, which he surely later regretted as he was given the nickname of “Wacko Jacko.” The image of Jackson’s mug shot is quite frightening, and serves as a reminder of a cult icon who went through his life hounded for his looks and strange behavior. 58 Mike Brooks, Frank Buckley, Charles Feldman and Stan Wilson. “Jackson Booked on Suspicion of Molestation.” CNN.com. November 25, 2003. <http://www.cnn.com/2003/LAW/11/20/jackson/>. (Accessed January 15, 2009). 59 “Jackson Cleared of Child Molestation.” Guardian.co.uk. June 13, 2005. <http://www.guardian.co.uk/music/2005/jun/13/michaeljackson.michaeljacksontrial> (Accessed January 15, 2009). 60 Toumi, Habib. “Jackson settles down to his new life in the Gulf.” Gulfnews.com. January 23, 2006. <http://archive.gulfnews.com/articles/06/01/23/10013403.html> (Accessed January 15, 2009). 56 • Mel Gibson: Fig 35. Mel Gibson’s police mug shot. Los Angeles County Sheriffs Department. 2006. Mel Gibson was arrested on July 28, 2006 on suspicion of driving under the influence of alcohol. The most disturbing and upsetting aspect of Gibson’s arrest, besides the fact that he was driving 84 miles-per-hour in a 45 miles-per-hour zone, was his behavior after he was handcuffed and seated in the police car. 61 According to the officer who arrested him, Gibson went on a “barrage of anti-Semitic remarks” stating that, “the Jews are responsible for all the wars in the world.” 62 He later offered a formal apology stating that, After drinking alcohol on Thursday night, I did a number of things that were very wrong and for which I am ashamed. I drove a car when I should not have, and was stopped by the L.A. County sheriffs…I acted like a person completely out 61 “Mel Gibson Apologizes After DUI Arrest.” MSNBC.com. July 31, 2006. <http://www.msnbc.msn.com/id/14080210/> (Accessed January 15, 2009). 62 Ibid. 57 of control when I was arrested, and said things that I do not believe to be true and which are despicable…I disgraced myself and my family with my behavior and for that I am truly sorry. I have battled the disease of alcoholism for all of my adult life and profoundly regret my horrific relapse. I apologize for any behavior unbecoming of me in my inebriated state and have already taken necessary steps to ensure my return to health. 63 Gibson acted quickly to the reports of his behavior by giving the statement above. He accepted blame, apologized to everyone who may have been affected by his actions, gave an explanation for why he behaved in this manner, and stated that he was taking future steps to control his illness. A month after this incident, Fox News conducted a poll to gauge the American public’s opinion of him after the events transpired. Eighty percent of those questioned said that his actions would not affect their opinion of him and that they would continue to see his movies. 64 His mug shot, however, will always serve as a public reminder of his actions that evening. 63 “Mel Gibson’s Statement on His DUI Arrest.” The San Francisco Chronicle. July 29, 2006. <http://www.sfgate.com/cgi- bin/article.cgi?file=/n/a/2006/07/29/entertainment/e133616D89.DTL> (Accessed January 15, 2009). 64 “Fox Poll: Gibson Still OK For Many Americans.” FoxNews.com. August 25, 2006. <http://www.foxnews.com/story/0,2933,208025,00.html> (Accessed January 15, 2009). 58 • Paris Hilton: Fig 36. Paris Hilton’s police mug shot. Los Angeles County Sheriffs Department. 2006. Following a previous September 2006 arrest for drunk driving, Paris Hilton, the actress/model/heiress, was pulled over in February 2007 for driving with a suspended license. This subsequently led to a charge of violating the terms of her probation with a 45-day sentencing in jail. 65 The charges and sentencing received much media coverage and Hilton’s mug shot was broadcast in print, television, and online media. In it Hilton looks very well put together, and has an innocent yet devious gaze. It is difficult to understand what she is thinking; whether she knows that somehow she will use her name and social status to divert any real consequences, 65 “Paris Hilton’s DUI Charges.” FindLaw.com. September 26, 2006. <http://news.findlaw.com/cnn/docs/ent/cahilton92606cmp.html> (Accessed January 20, 2009). 59 or that she simply does not care about the media attention and actually welcomes it as a photo opportunity. • Heather Locklear: Fig 37. Heather Locklear’s police mug shot. Santa Barbara County Sheriffs Department. 2008. Heather Locklear was arrested in September 2008 on suspicion of driving under the influence of prescription drugs. She was booked into the Santa Barbara County Jail and was posted at $5000 bail. 66 The T.J. Hooker and Melrose Place television star is obviously distraught in her mug shot and bears little resemblance to the beautiful actress on the red carpet. It may be too soon to tell what this arrest has done to her career, but this mug shot will surely circulate the web for a long time. “Celebrities, who thrive in the public eye, have to live down the fact that their mug shots live in perpetuity. Like a bad movie review that can be called up in any 66 TheSmokingGun.com. <http://www.thesmokinggun.com/mugshots/hlocklearmug1.html> (Accessed January 15, 2009). 60 daily newspaper’s archives, these mug shots can be obtained by the simple stroke of the keyboard,” states USC professor Jennifer Floto, a veteran public relations practitioner. 61 CHAPTER 6: TECHNOLOGY IMPACTS SOURCE OF INFORMATION FOR VISUAL IMAGERY As mobile technology has recently advanced with video and still photography cameras built into cell phones, and as the ease of use in digital photography has progressed, citizen photojournalists have been busy at work. Most often, citizen journalists are first on the scene nowadays when a story breaks, and by the time reporters arrive, the crucial photographic reporting has already been collected and uploaded to news wires. During the London bombings in July of 2005, two “citizen photojournalists” happened to be passengers on the trains and were able to capture all initial coverage before news network reporters were able to arrive on the scene. Although their images were not high resolution and were captured with low-tech camera phone technology, their images captured the essence of what they experienced as passengers aboard the trains. Within hours, their images were shown on local television stations, and were later purchased by the Associated Press, Reuters, and Getty Images. 67 Flicker.com, a photo site owned by Yahoo! said they had more than 300 bombing photos posted by amateur photographers less than eight hours after the attacks. 68 67 Zalcman, Daniella. “Stock Waves: Citizen Photo Journalists Are Changing the Rules.” Wired.com. July 9, 2007. <http://www.wired.com/techbiz/media/news/2007/07/stockwaves> Accessed October 22, 2008. 68 Story, Louise. “Witness Photos on Web Captured London Drama.” NewYorkTimes.com. July 8, 2005. <http://www.nytimes.com/2005/07/08/technology/08blog.html?_r=1&scp=8&sq=picture s%20online&st=cse&oref=slogin> (Accessed January 20, 2009). 62 Companies such as Scoopt, We Say, and Now Public license images taken by citizen journalists, market the photograph to the media, and, if purchased, pay the photographer a percentage of the sale. One of the newer such companies is Demotix, a London based “uncensored, unedited, user-generated newswire” that boasts an international audience of both amateur and professional photographers who share their photographs and video to an international audience. 69 Current events, local perspectives, and features are all welcomed as long as they are newsworthy and that they tell a story. They serve as a platform to share a citizen journalist’s story with mainstream media, and share in the profits 50/50. Websites such as these are becoming more popular due to the advancement in technology, to the eagerness of the average individual who seeks to share his or her experiences with the world, and even to the traditional media that are becoming more tolerant of citizen journalists as resources for traditional reporting. Dunseith suggested that even some Los Angeles Times staff writers and bloggers are happily accepting visual components to the press releases they receive. 70 LA Times entertainment blogger, Geoff Boucher, and blog editor, Tony Pierce, are two such journalists who see the benefit of moving the Los Angeles Times into a more visual era. When publicists send visuals to these journalists along with their press releases, they are offering as much information as possible so that the journalist has all 69 Lang, Daryl. “New Citizen Photojournalism Site Launches.” Photodistrictnews.com. December 11, 2008. < http://www.pdnpulse.com/2008/12/new-citizen-photojournalism- site-launches.html> (Accessed January 20, 2009). 70 Dunseith, Les (Design Director, Los Angeles Times), interviewed by author, December 16, 2008. 63 accurate corresponding images and video at his or her disposal. Dunseith suggests that more should be stressed in Public Relations programs to address the benefits of working through this medium. An added benefit to working with bloggers is that since they are based online, publicists are able to provide bloggers with basic information as a story breaks or crisis unveils, and then are able to continuously update the blogger with more information as it is collected. 71 In a Searchviews interview with Tony Pierce, he stressed the importance of blogs as an additional platform to inform and educate LA Times’ readers in a timely manner. The Times is even offering more current information, “be it liveblogging the NCAA tournament, hosting live video chats after Presidential debates, or getting deeper into stories than the actual newspaper has the physical room to do—blogging is the perfect complement to what most people have come to expect from traditional newspapers,” said Pierce. 72 L.A. Now is the paper’s official blogging website where bloggers can write about and comment on stories that were in the print edition of the paper. He suggests that a dialogue has come about between readers and journalists because of this new platform. It is now up to public relations professionals to become part of this information and integrate themselves as resources for these new platforms. 71 Ibid. 72 Saremi, Sepideh. “5 Questions with Tony Pierce, LA Times Blog Editor.” Searchviews.com. March 25, 2008. <http://www.searchviews.com/index.php/archives/2008/03/5-questions-with-la-times- blog-editor-tony-pierce.php> (Accessed January 20, 2009). 64 CHAPTER 7: VISUAL PUBLIC RELATIONS A. Today and tomorrow: So, how should 21 st Century public relations practitioners prepare for the barrage of visually oriented assignments that will no doubt come their way? Americans are starting to accept a more visual form of communication than what has been seen in the past. While the newspaper is still an important form of obtaining news and current events, it is now being read more online for its convenience and interactive capabilities. The print edition of the Los Angeles Times, for example, visually redesigned at the end of 2008 as, according to Dunseith, it recognized that readers were becoming more accepting of visuals and the mainstream media was also moving in that direction. He said that while the Times is making slight visual changes, quick read cues, coloring of headlines, and sketches of their columnists, they are still striving to maintain the seriousness and tradition of the paper, while still keeping up with the times. The reason for this shift could be due to a number of reasons, including increased viewing of television, ads having moved to shorter, more visual messages, and the accessibility and wealth of information available to us on the Internet. Whatever the reason, public relations is slowly on its way to communicating more visually as well. Video news releases (VNRs) (video segments created by public relations agencies that are distributed to television news stations for the purpose of shaping public opinion; they are video versions of press releases) have been offering public relations professionals a platform for providing information on a visual scale for quite some time. Critics have said that they are “fake news,” yet they have been fairly effective for many 65 years. VNRs are able to visually tell a story, generally created by PR agencies, marketing firms, and the government, and then they are pitched to traditional news outlets to be used within a broadcast with little or no editing required before going on-air. To seamlessly fit VNRs into a legitimate news broadcast, they must be produced with stellar quality, and can easily cost $20,000 per story. 73 Of more value to broadcast and online media outlets is the well-executed B-roll footage that allows producers to “cut in” images that may not be readily available in their archives. “As PR practitioners gain more credibility as resources to major media outlets, the production of quality, usable B-roll footage will simply improve the relationship,” states USC professor Jennifer Floto. “What will be difficult is to avoid the temptation of ‘enhancing’ the footage or editing out unacceptable angles or quotes.” Youtube, blogs, social networking sites and other video-supported platforms should be considered the new broadcast channel for video news releases in public relations. The technological barriers of entry are so low in cost and technological knowledge that now any company or organization has the correct tools to broadcast their products, values, and beliefs to customers and audiences. The substance and uniqueness of the video is now more important than its professional look as the platforms people receive information from are now simpler and evolving ever so quickly. Brian Solis, principal of PR agency Future Works, has created a top 10 list of rules to follow when producing an effective video: 73 Solis, Brian. “Social media killed the video news release star.” PR2.0. May 7, 2007. <http://www.briansolis.com/2008/01/video-killed-video-news-release-star.html> (Accessed January 21, 2009). 66 1. Be genuine. This isn't yet another opportunity for PR to spam the world. 2. Know your targets, their pain points, and why your product will help them. And please don't use the word audience. Viewers today are considered the people formally known as the audience. This ensures that we engage by conversing with, not marketing to, people. This is Jay Rosen's philosophy, which many social media purists hold sacred when discussing how to participate through social media. 3. Keep it focused on what's unique, interesting, and compelling. 4. Experiment. Don't just stop at one...keep the line of communication open through video much in the same way you would with blogs, marketing collateral, newsletters, and press releases. 5. Place the videos on the company site and offer RSS feeds (really simple syndication: internet formats used to publish frequently updated documents) for them. 6. Ensure that the videos are placed in the social networks where the people you want to reach search for new and interesting content. 7. Simply placing videos online isn't enough. Just because you place in social networks doesn't mean it will be viewed and shared. You have to do “PR” for it through the folksonomy of strategic tagging, linking, and having others point to it and republish it to spark the viral potential of your content. 8. Be creative. 9. Worry less about polish and more about content. 10. Listen to feedback. 74 Solis makes a good point that viewers are no longer an “audience.” They do not passively intake information and forget most of what they see and hear. Instead, they are targeted viewers who should be strategically selected based on their interests and demographics because a public relations practitioner knows that an engaged and intelligent dialogue will occur between the targets and the company or its products. Part 74 Ibid. 67 of this dialogue is to post these videos on the company site allowing feedback through RSS feeds. Solis’ approach to new media and public relations is worth mention here, as he is an example of one of the many public relations practitioners who is looking to use Web 2.0 (design patterns and business models created for the Internet whereby the more people use them, the better they become) to propel public relations into the visual communications world. He has created MicroPR, a new and effective public relations tool that connects journalists, bloggers and analysts with sources for the stories they are working on through Twitter (a free service that allows people to keep in touch through an exchange of quick answers to the question of “what are you doing?”). A public relations practitioner who is following a journalist on MicroPR can simply respond to the journalist with any helpful information for the journalist to write the story. 75 B. Visual Communications in Presidential Campaigns: Last year’s presidential election was monumental for so many reasons, one being that Barack Obama was a candidate who was promoted in the same sense as a brand. New—and more visual—social media tools and platforms were utilized to attract younger voters. The Obama campaign strategists realized early on that their product was a charismatic, young, and relatable candidate, and they could use these unique qualities to put him in the White House. 75 Christopher, Lisa. “Brian Solis and Stowe Boyd Introduce MicroPR, a PR Resource for Journalists, Analysts and Bloggers on Twitter.” November 25, 2008. <http://www.future- works.com/about/agency_news.php> (Accessed January 21, 2009). 68 They took his physical characteristics as a young African-American male and sold his image as one of ‘hope,’ ‘change,’ and ‘progress,’ for the first African-American president. These words were also the very same buzzwords used throughout his campaign. Obama’s campaign strategy was to use the web as a platform for a grassroots campaign in soliciting fundraising as well as volunteers. His win over Senator John McCain was highly due to his effective messaging—rather than talking down to voters using solely television and radio commercials, he created a dialogue with his constituents and spoke about their needs. Obama’s web presence proved to be the first of its kind in a presidential election. According to the Wall Street Journal, Obama had nearly double the traffic visiting his website compared with McCain. The newspaper also showed that Obama's Facebook network topped more than 2 million while McCain was just shy of 600,000. Similar figures were reported on both candidates’ Youtube channels. 76 These web platforms not only enabled President Obama to directly interact with his supporters, but also made his public image accessible and visual. His ‘brand’ of ‘hope,’ ‘change,’ and ‘progress’ were also materialized, monetized, and promoted though artists who campaigned on his behalf through their art. While Shepard Fairey’s posters are perhaps the most popular (examined on page 33) there were many other artists, such as Lance Wyman, Gui Borchert, and Jonathan Hoefler, who were inspired by him and created art on his behalf. The money they raised through their 76 Shah, Aarti. “Obama's savvy comms propel him to victory.” PRWeek.com. November 5, 2008. <http://www.prweekus.com/Obamas-savvy-comms-propel-him-to- victory/article/120451/> (Accessed January 21, 2009). 69 artwork went to support Obama’s campaign. On the Obama campaign website Fairey says that he created his artwork of Obama because “I thought an iconic portrait of him could symbolize and amplify the importance of his mission.” 77 He wanted to create a visual image that would evoke emotion and symbolize Obama in a way that was different from other candidates Americans had experienced in the past. 77 Fairey, Shepard. “Artists for Obama” BarakObama.com. <http://store.barackobama.com/Artists_for_Obama_s/1018.htm> (Accessed January 22, 2009). 70 CHAPTER 8: IMPLICATIONS FOR PUBLIC RELATIONS Public relations is moving in the direction where the written word no longer provides enough meaning to convey a message, and a visual accompaniment is absolutely essential. As Generation Y or “Millennials” age and become voters, buyers, donors, and influencers, practitioners must adjust their strategies to emphasize visual communications. Whether or not the targeted viewer learns and understands concepts better through visual or written/oral communication, technology and trends in today’s market are forcing public relations practitioners to perform more creatively and strategically. While previous methods of practicing public relations are still useful in promoting a client’s company or product, new technologies have significantly changed the tools available for publicists to do their job well. While there is no official code of ethics for public relations practitioners to observe, the Public Relations Society of America (PRSA) has its own “statement of values” to promote advocacy, honesty, expertise, independence, loyalty and fairness. The value of honesty should be kept in mind, as the technology available to us makes it easier for practitioners to cut corners, especially when trying to maintain an image’s integrity. “We adhere to the highest standards of accuracy and truth in advancing the interests of those we represent and in communicating with the public.” 78 While it is currently acceptable to use Photoshop on a celebrity’s image in some media, but not in others, one must not abuse the technology in order to advance a client’s career. This behavior would not accurately follow PRSA’s value of advocacy, which 78 “Ethics” Public Relations Society of America. <http://www.prsa.org/aboutUs/ethics/preamble_en.html> (Accessed January 20, 2009). 71 states that, “We serve the public interest by acting as responsible advocates for those we represent. We provide a voice in the marketplace of ideas, facts, and viewpoints to aid informed public debate.” 79 It is up to us to spread ideas, viewpoints, but also factual information to the public. Technology is also affording practitioners many new avenues to disseminate their information. Bloggers and other online journalists are very useful allies to have when communicating on behalf of your client, especially when they are given all the correct information to write a story. Easy access to images will supply bloggers with all of the necessary tools needed to write. This access will also serve them as visual evidence to the written content from a publicist’s press release or statement. Company websites and social networking sites are extremely visual, from the various applications that can be added, to simply posting pictures of an event or product, these PR tools can carry a written statement very far. For example, the McDonald’s fast- food restaurant chain recently launched the “Quality Correspondence Program” to recruit real mothers from all over the United States to go behind the scenes of the company’s operations and report what they see via the Internet in the form of blogs, videos, and photographs. These mothers are not paid and have not been told what to say, but are merely asked to offer their first-hand perspectives on the company and the food it offers. McDonald’s hopes that through using transparency in its public relations efforts and 79 Ibid. 72 giving mothers insight into its operations, this program will slowly shatter the myths it believes to have been created about the food it serves. 80 Images on these sites can be extremely influential and motivate or discourage a consumer from investing in a product or company. When consumers act as photojournalists and post images from their experiences with a company or product, the credibility of the photograph can be extremely influential. Personal testimonies are incredibly powerful, and can sometimes communicate with more meaning than the average statement produced by the company first hand. With so many new technological tools at the industry’s disposal, public relations practitioners cannot ignore visual imagery as a method of carrying a message farther and making it more memorable for the audience. Keeping everything truthful and unedited, images are perhaps the most transparent and honest form of communicating the ideas and values of an organization without coloring the messaging with disruptive or exaggerated language. Visual imagery has been incredibly powerful to the human mind from cave- drawings to the most sophisticated photographs and video productions witnessed by any audience that can truly appreciate its value. It is a form of communication that transcends language barriers or religious beliefs. As companies, journalists, public relations practitioners and individuals become more comfortable with the technology available to 80 Rosenwald, Michael. “McDonald's Courts Moms As Fast-Food Emissaries.” Washingtonpost.com. November 20, 2008. <http://www.washingtonpost.com/wp- dyn/content/article/2008/11/19/AR2008111903618.html?hpid=topnews> (Accessed February 18, 2009). 73 disseminate this information, understanding visual images will become more necessary as an accompaniment to written language. 74 BIBLIOGRAPHY Archive.org, “About the Internet Archive.” Archive.org. <http://www.archive.org/about/about.php#storage> (Accessed January 15, 2009). Braun, David. “How They Found National Geographic's “Afghan Girl.’” National Geographic News. March 7, 2003. <http://news.nationalgeographic.com/news/2002/03/0311_020312_sharbat.html> (Accessed January 12, 2009). Brooks, Mike, Frank Buckley, Charles Feldman and Stan Wilson. “Jackson Booked on Suspicion of Molestation.” CNN.com. November 25, 2003. <http://www.cnn.com/2003/LAW/11/20/jackson/>. (Accessed January 15, 2009). Brotman, Adam. “Picturing New Online Campaigns.” PRWeek.com. May 5, 2008. <http://www.prweekus.com/Picturing-new-online-campaigns/article/109701/> (Accessed January 20, 2009). Burr, Ty. “Pee-wee and Sympathy.” EntertainmentWeekly.com. <http://www.ew.com/ew/article/0,,315140,00.html> (Accessed January 15, 2009). Cherkis, Jason. “Is Shepard Fairey A Plagiarist?” WashingtonCityPaper.com. February 4, 2009. < http://www.washingtoncitypaper.com/blogs/citydesk/2009/02/04/is-shepard- fairey-a-plagiarist/> (Accessed February 18, 2009). Chol, Candice. “Prying Eyes: Be Smart About Your Online Profile.” TheSaltLakeTribune.com. January 12, 2009. <http://www.sltrib.com/technology/ci_11417646> (Accessed January 14, 2009). Christopher, Lisa. “Brian Solis and Stowe Boyd Introduce MicroPR, a PR Resource for Journalists, Analysts and Bloggers on Twitter.” November 25, 2008. <http://www.future- works.com/about/agency_news.php> (Accessed January 21, 2009). CNN, “Spin cycle: Hugh Grant finds "honesty" best policy.” CNN.com. July 17, 1995. <http://www.cnn.com/SHOWBIZ/HughGrant/> (Accessed January 20, 2009). Countdown Creations. “Flag Salute 16x20 Photo Signed by Buzz Aldrin,” <http://www.countdowncreations.com/autogbasalute16x20.htm> (Accessed January 15, 2009). Daum, Meghan. “Obama As An Artform,” LosAngelesTimes.com. April 12, 2008. <http://www.latimes.com/news/opinion/la-oe-daum12apr12,0,5472791.column> (Accessed January 1, 2009). 75 Daily Mail Reporter. “She may be one of the most beautiful women in the world... but that doesn't stop Jessica Alba from getting airbrushed.” Daily Mail Online. December 8, 2008. <http://www.dailymail.co.uk/tvshowbiz/article-1091451/She-beautiful-women- world--doesnt-stop-Jessica-Alba-getting-airbrushed.html> (Accessed January 10, 2009). Dove, “Campaign For Real Beauty,” <http://www.campaignforrealbeauty.com/> (Accessed January 2, 2009). Dunseith, Les (Design Director Administration, Los Angeles Times), interviewed by author, December 16, 2008. Facebook, “Pressroom.” Facebook.com, <http://www.facebook.com/facebook?ref=pf#/facebook?v=app_7146470109&viewas=78 1048199> (Accessed January 15, 2009). Facebook, “Terms of Service.” Facebook.com. <http://www.facebook.com/terms.php?ref=pf> (Accessed January 15, 2009). Fairey, Shepard. “Artists for Obama” BarakObama.com. <http://store.barackobama.com/Artists_for_Obama_s/1018.htm> (Accessed January 22, 2009). Famous Photos That Changed the World, “Iwo Jima,” <http://www.cameranaked.com/Photographs1940s.htm> (Accessed January 15, 2009). Famous Pictures: The Magazine, “JFK Jr. Salutes JFK,” <http://www.famouspictures.org/mag/index.php?title=JFK_jr's_salute> (Accessed January 15, 2009). Famous Pictures: The Magazine, “Raising the Flag at the World Trade Center,” <http://www.famouspictures.org/mag/index.php?title=Raising_the_Flag_at_the_WTC> (Accessed January 15, 2009). Find Law, “Paris Hilton’s DUI Charges.” FindLaw.com. September 26, 2006. <http://news.findlaw.com/cnn/docs/ent/cahilton92606cmp.html> (Accessed January 20, 2009). Fox News, “Fox Poll: Gibson Still OK For Many Americans.” FoxNews.com. August 25, 2006. <http://www.foxnews.com/story/0,2933,208025,00.html> (Accessed January 15, 2009). Friendster, “Terms of Service”. Friendster.com. <http://www.friendster.com/info/tos.php> (Accessed January 14, 2009). 76 The Guardian, “Jackson Cleared of Child Molestation.” Guardian.co.uk. June 13, 2005. <http://www.guardian.co.uk/music/2005/jun/13/michaeljackson.michaeljacksontrial> (Accessed January 15, 2009). Hill, Charles A. and Helmers, Marguerite H. “Defining Visual Rhetorics.” Lawrence Erlbaum Associates, 2004. Hollywood Rag, “Jessica Alba’s Waist Majorly Photoshopped.” HollywoodRag.com. December 12, 2008. <http://www.hollywoodrag.com/index.php?/weblog/jessica_albas_waist_majorly_photos hopped/> (Accessed January 10, 2009). Iyer, Pico. “The Unknown Rebel.” The Time 100. April 13, 1998. <http://www.time.com/time/time100/leaders/profile/rebel.html> (Accessed February 18, 2009). Landsberg, Mitchell. “Fifty Years Later, Iwo Jima Photographer Fights His Own Battle.” AP.org. <http://www.ap.org/pages/about/pulitzer/rosenthal.html> (Accessed February 18, 2009). Lang, Daryl. “New Citizen Photojournalism Site Launches.” Photodistrictnews.com. December 11, 2008. < http://www.pdnpulse.com/2008/12/new-citizen-photojournalism- site-launches.html> (Accessed January 20, 2009). Leebron, Elizabeth J. “Visual Persuasion: The Role of Images in Advertising.” Journal of Broadcasting & Electronic Media, Fall, 1997. <http://findarticles.com/p/articles/mi_m6836/is_n4_v41/ai_n25024536> (Accessed December 13, 2008). Library of Congress, <“http://wasearch.loc.gov/sep11/20010923163745/http://www.nypost.com/commentary/ 4613.htm> (Accessed January 15, 2009). Meyer, Pedro. “The LA Times Fires a Photographer.” Zonezero.com. <http://zonezero.com/magazine/articles/altered/altered.html> (Accessed January 10, 2009.) MSNBC, “Mel Gibson Apologizes After DUI Arrest.” MSNBC.com. July 31, 2006. <http://www.msnbc.msn.com/id/14080210/> (Accessed January 15, 2009). Mug Shots.org, “Pee Wee Herman” mug shot. <http://www.mugshots.org/hollywood/pee-wee-herman.html> (Accessed January 15, 2009). 77 O’Mara-Croft, Brian. “Every Picture Tells a Story.” Communication World Magazine. September-October 2008. Photos That Changed the World, “Che Guevara,” <http://photosthatchangedtheworld.com/che-guevara/> (Accessed January 15, 2009). Photos That Changed the World, “Earthrise,” <http://photosthatchangedtheworld.com/earthrise/> (Accessed January 15, 2009). Photos That Changed the World, “I Have A Dream,” <http://photosthatchangedtheworld.com/i-have-a-dream/> (Accessed January 15, 2009). Photos That Changed the World, “Segregated Water Fountains,” <http://photosthatchangedtheworld.com/segregated-water-fountains/> (Accessed January 15, 2009). Photos That Changed the World, “The Kiss Times Square,” <http://photosthatchangedtheworld.com/the-kiss-times-square/> (Accessed January 15, 2009). Photos That Changed the World, “Tsunami Floating Bodies,” <http://photosthatchangedtheworld.com/tsunami-floating-bodies/> (Accessed January 15, 2009). Pin Guy.com, “Images That Changed the World,” <http://pinguy.infogami.com/blog/vwm6> (Accessed January 15, 2009). Public Relations Society of America, “Ethics” Public Relations Society of America. <http://www.prsa.org/aboutUs/ethics/preamble_en.html> (Accessed January 20, 2009). Rosenwald, Michael. “McDonald's Courts Moms As Fast-Food Emissaries.” Washingtonpost.com. November 20, 2008. <http://www.washingtonpost.com/wp- dyn/content/article/2008/11/19/AR2008111903618.html?hpid=topnews> (Accessed February 18, 2009). Salvo, Suzanne. “True Lies: Manipulating Images. Is it ethical?” Communication World Magazine. September-October 2008. Saremi, Sepideh. “5 Questions with Tony Pierce, LA Times Blog Editor.” Searchviews.com. March 25, 2008. <http://www.searchviews.com/index.php/archives/2008/03/5-questions-with-la-times- blog-editor-tony-pierce.php> (Accessed January 20, 2009). 78 Shah, Aarti. “Obama's savvy comms propel him to victory.” PRWeek.com. November 5, 2008. <http://www.prweekus.com/Obamas-savvy-comms-propel-him-to- victory/article/120451/> (Accessed January 21, 2009). Solis, Brian. “Social media killed the video news release star.” PR2.0. May 7, 2007. <http://www.briansolis.com/2008/01/video-killed-video-news-release-star.html> (Accessed January 21, 2009). Story, Louise. “Witness Photos on Web Captured London Drama.” NewYorkTimes.com. July 8, 2005. <http://www.nytimes.com/2005/07/08/technology/08blog.html?_r=1&scp=8&sq=picture s%20online&st=cse&oref=slogin> (Accessed January 20, 2009). The Age.com, “One Giant Leap of Imagination.” Theage.com.au. December 24, 2002. <http://www.theage.com.au/articles/2002/12/24/1040511043172.html>. (Accessed February 18, 2009). The Digital Journalist, “Execution of a Viet Cong Guerrilla,” <http://digitaljournalist.org/issue0309/lm12.html> (Accessed January 15, 2009). The Digital Journalist, “Johnson Is Sworn In,” <http://digitaljournalist.org/issue0309/lm14.html> (Accessed January 15, 2009). The Digital Journalist, “Tiananmen Square,” <http://digitaljournalist.org/issue0309/lm25.html> (Accessed January 15, 2009). The Miami Herald, “Dockworker set ship blast in Havana, American claims.” The Miami Herald. March 7, 1960. < http://www.latinamericanstudies.org/cuban- rebels/dockworker.htm> (Accessed February 18, 2009). The Official Google Blog, “2001: A Search Odyssey.” The Official Google Blog. September 30, 2008. <http://googleblog.blogspot.com/2008/09/2001-search- odyssey.html> (Accessed January 15, 2009). The San Francisco Chronicle, “Mel Gibson’s Statement on His DUI Arrest.” The San Francisco Chronicle. July 29, 2006. <http://www.sfgate.com/cgi- bin/article.cgi?file=/n/a/2006/07/29/entertainment/e133616D89.DTL> (Accessed January 15, 2009). TheSmokingGun.com. <http://www.thesmokinggun.com/mugshots/hlocklearmug1.html> (Accessed January 15, 2009). 79 Toumi, Habib. “Jackson settles down to his new life in the Gulf.” Gulfnews.com. January 23, 2006. <http://archive.gulfnews.com/articles/06/01/23/10013403.html> (Accessed January 15, 2009). Van Riper, Frank. “Manipulating Truth, Losing Credibility.” WashingtonPost.com. <http://www.washingtonpost.com/wp-srv/photo/essays/vanRiper/030409.htm> (Accessed January 8, 2009). Wenn. “Gibson Feared Nolte-Styled Mug Shot.” Hollywood.com. October 13, 2006. <http://www.hollywood.com/news/Gibson_Feared_NolteStyle_Mugshot/3565400> (Accessed January 15, 2009). World Famous Photos, “Bill Clinton Hugs Monica Lewinsky,” <http://www.worldsfamousphotos.com/bill-clinton-hugs-monica-lewinsky-1996.html> (Accessed January 15, 2009). World Famous Photos, “The Toppling of Saddam Statue,” <http://www.worldsfamousphotos.com/the-toppling-of-the-saddam-statue-2003.html> (Accessed January 15, 2009). Zalcman, Daniella. “Stock Waves: Citizen Photo Journalists Are Changing the Rules.” Wired.com. July 9, 2007. <http://www.wired.com/techbiz/media/news/2007/07/stockwaves> (Accessed October 22, 2008).

Abstract (if available)

Abstract Unlike the written or spoken word, visual imagery is able to transcend cultural boundaries, language barriers, and have a psychological impact on an audience. The ability to influence an audience’s opinion has been mastered by public relations professionals through the use of written language. In the past, the power of visual imagery has been overlooked, however, by public relations professionals.

Linked assets

University of Southern California Dissertations and Theses

Conceptually similar

PDF

The entertainment value in food and its value to the public relations industry

PDF

It's not you, it's me: Generation me and the public relations stategies to reach it

PDF

See it want it buy it: the changing face of the early adopter in high technology and the tech industry's targeted public relations campaigns

PDF

The rise and fall of Howard Dean: the media's role in the Iowa caucus "scream" debacle

PDF

The 2011 NFL lockout: labor negotiations and their impact on public relations in professional sports leagues

PDF

Persuasion through play: how procedural rhetoric in casual games can inform public relations

PDF

How a strategic public relations campaign can enhance the reputation of China's financial public relations industry

PDF

The visual literacy explosion: a brief history, relevant cases and commonly accepted practices

PDF

The nuances of Hispanic public relations in the United States

PDF

Engaging in the conversation; best practices in strategic social media

PDF

Web 2.0: An examination of its effects upon U.S. public relations practices

PDF

When the mighty fall. Pro athletes and the media: how to mitigate and manage a scandal

PDF

Your public is online: public relations in an online world

PDF

A comparative analysis of the advertising and public relations disciplines in an era of digitally fueled audience control

PDF

The fourth "R" of education: promoting arts education in Los Angeles public schools

PDF

The American deception epidemic: why public relations practitioners should take notice

PDF

The convergence of investor relations and public relations: fitting investor relations into the overall corporate communications strategy

PDF

The evolution of the internal communications practice and its importance to the survival of organizations

PDF

Sports PR trends in the second decade of the 21st century: why sports legends' non-profits work

PDF

Capturing and maintaining the essence of luxury in the dynamic global marketplace

Asset Metadata

Creator Bazigos, Julie (author)

Core Title The power of visual imagery and its role in public relations

School Annenberg School for Communication

Degree Master of Arts

Degree Program Strategic Public Relations

Publication Date 05/07/2009

Defense Date 03/25/2009

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag new media,OAI-PMH Harvest,Public Relations,social networking,visual imagery,visual persuasion

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Floto, Jennifer D. (committee chair), Dunseith, Les (committee member), Kotler, Jonathan (committee member)

Creator Email jabazigos@gmail.com,jabazigos@yahoo.com

Permanent Link (DOI) https://doi.org/10.25549/usctheses-m2207

Unique identifier UC1469996

Identifier etd-Bazigos-2719 (filename),usctheses-m40 (legacy collection record id),usctheses-c127-236816 (legacy record id),usctheses-m2207 (legacy record id)

Legacy Identifier etd-Bazigos-2719.pdf

Dmrecord 236816

Document Type Thesis

Rights Bazigos, Julie

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Repository Name Libraries, University of Southern California

Repository Location Los Angeles, California

Repository Email cisadmin@lib.usc.edu