The Contemporary Visual Spectacle — Critical Visual Literacy
In this increasingly visual world, how can we best decipher and understand the many ways that our everyday lives are organized around looking practices and the many images we encounter each day? Indeed, how we interact with and interpret visual images is a basic component of human life. Today, however, we are living in one of the most artificial visual and image-saturated cultures in human history, which makes understanding the complex construction and multiple social functions of visual imagery more important than ever before. Themes regarding our experience of a visually pervasive mediated culture, here, termed visual spectacle.
[1] J. Berger, "Ways of Seeing,”UK: Penguin Books, 2008.
[2] C. Luke, "Feminist pedagogy and critical media literacy,” Journal of Communication Inquiry, vol. 18 no. 2, 1994, pp. 30-47.
[3] S. R. Steinberg, and J. L. Kincheloe, "Introduction: No more secrets-kinderculture, information saturation, and the postmodern childhood,” In S. R. Steinberg and J. L. Kincheloe (Eds.), Kinderculture: The corporate construction of childhood, Boulder, CO: Westview Press, 1997, pp. 1-30.
[4] J. Gaimster, "Reflections on interactions in virtual worlds and their implication for learning art and design,” Art Design and Communication in Higher Education, vol. 6, no. 3, 2008, pp.187-199.
[5] N. S. Parks, "Video games as reconstructionist sites of learning in art education,” Studies in Art Education, vol. 49, no. 3, 2008, pp.235-250.
[6] R. Barthes, Elements of semiology, New York: Hill and Wang, 1964.
[7] E. Yeoman, "How does it get into my imagination?: Intertextuality and alternative stories in the classroom,” The Morning Watch, vol. 22, no. 3, 1995, pp. 22-32.
[8] P. Duncum, "Seven principles for visual culture education,” Art Education, vol. 6, no. 1, 2010, pp. 6-10.
[9] G. Rose, Visual methodologies: An introduction to the interpretation of visual materials. Thousand Oaks, CA: Sage Publications, 2001.
[10] T. Gitlin, Media unlimited: How the torrent on images and sounds overwhelms our lives, New York: Metropolitan Books, 2001.
[11] L. P. Stevens, and T. W. Bean, Critical literacy: Context, research, and practice in the K-12 classroom. Thousand Oaks, CA: Sage, 2007.
[12] M. Horkheimer, Critical theory, New York: Seabury Press, 1982.
[13] P. Freire, Pedagogy of the Oppresse, New York: Seabury Press. 1970.
[14] H. Giroux, "Literacy and the politics of difference,” In C. Lankshear and P. McLaren (Eds.), Critical literacy: Politics, praxis, and the postmodern, Albany, NY: SUNY Press, 1993, pp. 367-377.
[15] P. Freire, and D. Macedo, Literacy: Reading the word and the world, South Hadley, MA: Bergin & Garvey, 1987.
[16] C. Lankshear, and P. McLaren, (Eds.), Critical literacy: Politics, praxis, and the Postmodern, Albany, NY: SUNY Press, 1993.
[17] A. V. Ciardiello, "Democracy’s young heroes: An instructional model of critical literacy practices,” The Reading Teacher, vol. 58, no. 2, 2004, pp.138-147.
[18] M. Lewison, and, A. S. Flint, and K. Van Sluys, "Taking on critical literacy: The journey of newcomers and novices,” Language Arts, vol. 79, no. 5, 2002, pp.382-392.
[19] M. W. Apple, Ideology and curriculum, New York: Routledge, 1990.
[20] C. L. Keels, "The hip-hop discourse: Coming to a campus near you,” Black Issues in Higher Education, vol. 22, no.7, 2005,pp. 40-45.
[21] S. K. Chung, "Media literacy art education: Deconstructing lesbian and gay stereotypes in the media,” International Journal of Art and Design Education, vol.26 no. 1, 2007, pp. 98–107.
[22] R. Comber, "Negotiating critical literacies,” School Talk, vol. 6, no. 3, 2001, pp.1-2
[23] H. Jenkins, "Empowering children in the digital age: Towards a radical media Pedagogy,” Radical Teacher, vol. 50, Spring. 1997, pp. 30-35.
[24] J. Rose, The case of Peter Pan: The impossibility of children’s fiction, London: Macmillan, 1984.
[1] J. Berger, "Ways of Seeing,”UK: Penguin Books, 2008.
[2] C. Luke, "Feminist pedagogy and critical media literacy,” Journal of Communication Inquiry, vol. 18 no. 2, 1994, pp. 30-47.
[3] S. R. Steinberg, and J. L. Kincheloe, "Introduction: No more secrets-kinderculture, information saturation, and the postmodern childhood,” In S. R. Steinberg and J. L. Kincheloe (Eds.), Kinderculture: The corporate construction of childhood, Boulder, CO: Westview Press, 1997, pp. 1-30.
[4] J. Gaimster, "Reflections on interactions in virtual worlds and their implication for learning art and design,” Art Design and Communication in Higher Education, vol. 6, no. 3, 2008, pp.187-199.
[5] N. S. Parks, "Video games as reconstructionist sites of learning in art education,” Studies in Art Education, vol. 49, no. 3, 2008, pp.235-250.
[6] R. Barthes, Elements of semiology, New York: Hill and Wang, 1964.
[7] E. Yeoman, "How does it get into my imagination?: Intertextuality and alternative stories in the classroom,” The Morning Watch, vol. 22, no. 3, 1995, pp. 22-32.
[8] P. Duncum, "Seven principles for visual culture education,” Art Education, vol. 6, no. 1, 2010, pp. 6-10.
[9] G. Rose, Visual methodologies: An introduction to the interpretation of visual materials. Thousand Oaks, CA: Sage Publications, 2001.
[10] T. Gitlin, Media unlimited: How the torrent on images and sounds overwhelms our lives, New York: Metropolitan Books, 2001.
[11] L. P. Stevens, and T. W. Bean, Critical literacy: Context, research, and practice in the K-12 classroom. Thousand Oaks, CA: Sage, 2007.
[12] M. Horkheimer, Critical theory, New York: Seabury Press, 1982.
[13] P. Freire, Pedagogy of the Oppresse, New York: Seabury Press. 1970.
[14] H. Giroux, "Literacy and the politics of difference,” In C. Lankshear and P. McLaren (Eds.), Critical literacy: Politics, praxis, and the postmodern, Albany, NY: SUNY Press, 1993, pp. 367-377.
[15] P. Freire, and D. Macedo, Literacy: Reading the word and the world, South Hadley, MA: Bergin & Garvey, 1987.
[16] C. Lankshear, and P. McLaren, (Eds.), Critical literacy: Politics, praxis, and the Postmodern, Albany, NY: SUNY Press, 1993.
[17] A. V. Ciardiello, "Democracy’s young heroes: An instructional model of critical literacy practices,” The Reading Teacher, vol. 58, no. 2, 2004, pp.138-147.
[18] M. Lewison, and, A. S. Flint, and K. Van Sluys, "Taking on critical literacy: The journey of newcomers and novices,” Language Arts, vol. 79, no. 5, 2002, pp.382-392.
[19] M. W. Apple, Ideology and curriculum, New York: Routledge, 1990.
[20] C. L. Keels, "The hip-hop discourse: Coming to a campus near you,” Black Issues in Higher Education, vol. 22, no.7, 2005,pp. 40-45.
[21] S. K. Chung, "Media literacy art education: Deconstructing lesbian and gay stereotypes in the media,” International Journal of Art and Design Education, vol.26 no. 1, 2007, pp. 98–107.
[22] R. Comber, "Negotiating critical literacies,” School Talk, vol. 6, no. 3, 2001, pp.1-2
[23] H. Jenkins, "Empowering children in the digital age: Towards a radical media Pedagogy,” Radical Teacher, vol. 50, Spring. 1997, pp. 30-35.
[24] J. Rose, The case of Peter Pan: The impossibility of children’s fiction, London: Macmillan, 1984.
@article{"International Journal of Business, Human and Social Sciences:67644", author = "Lai-Fen Yang", title = "The Contemporary Visual Spectacle — Critical Visual Literacy", abstract = "In this increasingly visual world, how can we best decipher and understand the many ways that our everyday lives are organized around looking practices and the many images we encounter each day? Indeed, how we interact with and interpret visual images is a basic component of human life. Today, however, we are living in one of the most artificial visual and image-saturated cultures in human history, which makes understanding the complex construction and multiple social functions of visual imagery more important than ever before. Themes regarding our experience of a visually pervasive mediated culture, here, termed visual spectacle.
", keywords = "Visual culture, contemporary, visual spectacle.", volume = "8", number = "6", pages = "1975-5", }
