DOCUMENT RESUME ED 374 441 CS 214 514 AUTHOR Fox, Roy F., Ed. TITLE Images 1,Language, Media, and Mind. INSTITUTION National Council of Teachers ofEnglish, Urbana, Ill. REPORT NO ISBN-0-8141-2281-7 PUB DATE 94 NOTE 255p. 1111 W. AVAILABLE FROMNational Council of Teachers of English, Kenyon Rd., Urbana, IL61801-1096 (Stock No. 22817-3050: $18.95 members, $25.95nonmembers). PUB TYPE Collected Works General (020) Books (010) EDRS PRICE MF01/PC11 Plus Postage. Higher Education; DESCRIPTORS Elementary Secondary Education; Interdisciplinary Approach; *Language Role;*Mass Media Effects; *Mass Media Role;Psycholinguistics; *Social Problems; Visual Literacy IDENTIFIERS *Images; *Visual Communication ABSTRACT The essays in this collectiondiscuss the "image" as both product and process.Representing such diverse disciplines as rhetoric, composition, clinical psychology,journalism, photography, communication, education, and sociology,the essays describe how images function and how they arelinked with language and explore the role of images in shaping socialissues. Following an introduction (overview) by the editor, the essaysin Part I, "Images in Language," Interdisciplinary View" (Roy F.Fox); (2) are:(1) "Image Studies: An "People Prose" (Alan C. Purves);(3) "Imaging, Literacy, and Sylvia Ashton-Warner" (Nancy S. Thompson);(4) "Photographs, Writing, and Critical Thinking" (Carol P. Hovanecand David Freund); and (5) "Child Talk: Re--presenting Picturesin the Mind" (Stevie Hoffman). Live" The essays in Part II,"Images in Media," are: (6) "Where We Bites: The Poster (Roy F. Fox);(7) "From War Propaganda to Sound Mentality of Politics in the Age ofTelevision" (Linda R. Robertson); (8) "Reading 011ie North"(William V Costanzo);(9) "Instant History, Image History: Lessonsfrom the Persian Gulf War"(George Gerbner); (10) "Authorship of MetaphoricImagery in 'Live' Television Sportscasts" (Barbra S. Morris);(11) "Ad Images and the Stunting of Sexuality" (Carol Moog); and(12) "-Don't Hate Me '3ecause I'm in Beautiful': A Commercial inContext" (Gerald O. Grow). The essays Part III, "Images in Mind." are:(13) "Beyond 'The Empty Eye': A Hayakawa" (Roy F. Fox); ConversatioA with S.I. Hayakawa and Alan R. Visual (14) "The Image Is Not the Thing"(Herb Karl); (15) "Analyzing Persuasion: The Art of DuckHunting" (Kay Ellen Rutledge); and(16) Signorile). (NKA) "The Riddle Visual Experience" (Vito *********************************************************************** Reproductions supplied by EDRS arethe best that can be made from the original document. *********************************************************************** U S DEPARTMENT OF EDUCATION Office of Educational Research and improvement EDU ATIONAL RESOURCES INFORMATION CENTER (ERIC) This document has been reproduced as received from the person or organization Originating it Minor changes have been made to improve reproduction quality Points of view or opinions stated in this document do not necessarily represent official OERI pos lion or policy "PERMISSION TO REPRODUCETHIS MATERIAL HAS BEENGRANTED BY Images in Language, Media, and Mind 3 NCTE Editorial Board: Hazel Davis, Keith Gilyard,Ronald Jobe, Joyce Kinkead, Louise W. Phelps, Charles Suhor, Chair,cx officio, Michael Spooner, cx officio 4 Images in Language, Media, and Mind Edited by Roy F. Fox University of Missouri-Columbia National Council of Teachers of English 1111 W. Kenyon Road, Urbana, Illinois 61801-1096 Manuscript Editor: MichaelHimick Staff Editors: Michelle Sanden Joh las and Mario Welshons Cover Designer: Carlton Bruett Cover Art: The Webs of Funcg Are Spun into the Sky by Margaret Sutton. Mary Washington College Galleries, Cof Alfred Levitt. Reproduced by per- mission. (For more information, see p. 246.) Interior Book Designer: Doug Burnett NCTE Stock Number 22817-3050 © 1994 by the National Council of Teachers of English. All rights reserved. Printed in the United States of America. It is the policy of NCTE in its journals and other publications to providea forum for the open discussion of ideas concerning the content and the teach- ing of English and the language arts. Publicity accorded toany particular point of view does not imply endorsement by the Executive Committee, the Board of Directors, or the membership at large, except in announcements of policy, where such endorsement is clearly specified. Library of Congress Cataloging-in-Publication Data Images in language, media, and mind / edited by Roy F. Fox. p.cm. Includes bibliographical references (p.) and index. ISBN 0-8141-2281-7 : $25.95 1. Visual communication.2. Psycholinguistics.3. Imagery (Psychology).4. Mass mediaPsychological aspects.I. Fox, Roy F. I'93.5.147 1994 302.2'22d c20 94-21522 CIP 6 Contents Acknozvledgments vii Introduction ix L Images in Language 1. Image Studies: An Interdisciplinary View Roy F. Fox 3 2. People Prose Alan C. Purves 21 3. Imaging, Literacy, and Sylvia Ashton-Warner Nancy S. Thompson 29 4. Photographs, Writing, and CriticalThinking Carol P. Hovanec and David Freund 42 5. Child Talk: Re-presenting Pictures inthe Mind Stevie Hoffman 58 II. Images in Media 6. Where We Live Roy F. Fox 69 7. From War Propaganda to Sound Bites:The Poster Mentality of Politics in the Age of Television Linda R. Robertson 92 8. Reading 011ie North William V. Cosi:anzo 108 9. Instant History, Image History: Lessonsfrom the Persian Gulf War George Gerbner 123 10. Authorship of Metaphoric Imagery in"Live" Television Sportscasts Barbra S. Morris 141 11. Ad Images and the Stunting ofSexuality Carol Moog 152 7 vi Contents 12 "Don't Hate Me Because I'm Beautiful". A Commercial in Context Gerald 0. Grow 170 III. Images in Mind 13. Beyond "The Empty Eye": A Conversation with S. 1. Hayakawa and Alan R. Hayakawa Roy F. Fox 183 14. The Image Is Not the Thing Herb Karl 193 15. Analyzing Visual Persuasion: The Art of Duck Hunting Kay Ellen Rutledge 204 16. The Riddle of Visual Experience Vito Signori le 219 Index 233 Editor 241 Contributors 243 About the Cover 246 8 vii Acknowledgments I am grateful to the University of MissouriColumbiaResearch Council for providing the Summer Research Fellowship that enabled me tocomplete part of this book. I am also indebted to William Lutz, WalkerGibson, and other members of the NCTE Committee on Public Doublespeakfor their early encouragement. For their support and confidence, Iwish to thank Joe and Jeri Peterson, as well as former colleagues in the EnglishDepartment of Boise State University. And I am grateful to Susan Baruffi andDavid Lineberry for their skilled editorial assistance. Beverly Fox, asusual, supplied solid judg- ment and sanity; this book could not havebeen done without her. I thank Emmy Fox and Joel Fox as well, not only for tolerating mybeing locked away in an office, but also for never letting meforget what images are for. Finally, I thank Norine V. Fox. Even in the chaos of running alarge family, she kept an endless stream of blank paperand gentle words flowing my way. This book is dedicated to her. a ix Introduction Roy F. Fox University of Missouri-Columbia Like many first-grade classrooms, mine was equipped with Gilbert Stuart's famous portrait of George Washington. Each day of the 1955 school year, we looked up at this framed print affixed to the front wall, high above the blackboard. Washingtonregal, pa- ternal, silverywatched over us. Like many images, this one was surrounded by words. Mrs. Pearl Snavely, our teacher, told us that Washington was the "father of our country." I had heard of Washington and Eisenhower ontelevision and radio. I was aware that they were great people. At Sunday School, I had also heard about "our Father in t.eaven." Since this portrait of Washington showed unmistakable white clouds billowing under him, I figured that the General was gazing down from heaven, or wherever it was that God lived. So, in my mind, during that year, the father of our country and our Father in heaven became the same person.Wash- ington was God, God was Wi:.,hington, and He was in charge. I don't remember how this matter ironed itself out. The biggest disappointment, though, came when I learned that Stuart didn't inten- tionally place Washington amidst fluffy clouds. In fact, he didn't place the General in heaven at all; Stuart simply never finished the painting. What I had taken to be the white, downy vapors of celestial perfection turned out to be blank canvas. Although I continue to make excursions into the bowels of verbal and visual illiteracy, I now know that presi- dents are human and that artists run out of time, energy, and even money to buy paint. Such misconceptions, of course, are a natural part of childhood. Yet my learning was also part of the discourse community of Mrs. Snavely's first-grade class, nestled within the larger community of Linden East Elementary School, north of Kansas City, Missouriall of which lay smack in the middle of Cold War America. Specific people took part in this learning: my teacher, my family, my classmates. The words they spoke and messages from television and radio were equally influential. But most important, then and now, was what 1 saw. 10 x Roy F. Fox Today our inner and outer worlds are dominated by images whether we receive them, send them, or think them; whether they happen inside our heads or outside our skin; whether we find them in proposals or poems, in casual conversations or environmental impact statements, in dreams or in ads for Dodge trucks or on computer screens, in films or scientific reports or Pepsi commercials. In this book, image (and imaging) refers to any form of mental, pictorial rep- resentation, however generic or fleeting. Images can be sensory expe- riences that exist only for us, with or without the actual stimuli present, or images can refer to actual pictures, from the simplest scrawl on a piece of paper to the ceiling of the Sistine Chapel. Images and imaging may involve the possible as much as the actual.