Relationship Between Visual Culture and Language Mechanisms

Running Head: VISUAL ART 1

VISUAL ART 2

Visual art

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There has been great link between the visual culture and the language mechanisms in America and Europe, in particular, the period of modernism. The comprehensive study of the cinemas in America such as in the Hollywood serves as a particular case that gives a discursive backdrop. In the early years to the midst of the 20th century, there were crucial aspects, especially in the artistic period of modernism where there was a tradition relation through the adoption of many techniques such as incorporation, reprise, parody and revision of new forms. There has been a great deal of the popularity of art and more on the motion pictures, and also there has been the recommendations on the wide dimensions. This has embraced the number of ideas which have vibrantly been communicated through the use of arts in that period with many such Lewis Mumford establishing unique conditions of the audiences and media which influence the many forms of art.
This essay gives a detailed report on many ways which art has been used as means of communication. It further considers other several ways that the visual culture comments on the many changes which occurred in the American and European society in the early years of the 20th century with the materials and techniques used during that period.
In the context of cinema polarization, there has been diverse on advocating screen on modernity. In the year 1909, Edison began to venture in the media visual industry, and it was perceived as an integration method of the visual stimuli which was geared towards civil awareness and citizenship for the immigrants. As for movies acting as the lingua franca of the immigrants in America especially in the New York, it has been a visual communication for the modern life. The significance of the entry of the Beach into the film industry as the basic being in the interrelation between the scope of Americanization and Americanism (Freedman, 2003). This was a crucial route towards the navigation of the ‘’the spoilers’’ reception which resonates with the wider scope of the evolving changes which have affected the American culture, and this argument can be viewed in the perspective of the American cinema. This change in visual culture made new hierarchical visual representations order in the early 20th century that valued realism notions, authenticity and verisimilitude while expressing the romanticism notions and imitations. Richard Abel connects the foreign subjects of Pathe that provides one principle against which the American difference in the press in the years of 1908-1909. During this period, there were permeated discourse racism and gender issues. In the reference to the Abel, there was virility realism in culture occurring in the American culture. A counterpart of cinematic scope, Abel convincingly depicts how the western genre knows the mythical frontier that serves as the space of the imagery which tests the American character virility with cinema serving as a part of Americanization.
Many writers often term noise as an inappropriate visual mode, such as the objection of MPW, which was objected to the sound and image matches. These matches are seen as arbitrary and are likely to be paired with any soundscape in the absence of any restraint or discretion. There has been many vices and sonic practices which have been linked with the MPW, and this harmony has the factor of moral valence. There has been a written work on the film language from the perspective of semiotics, cinematography and visual interaction which brings about a little research which has carried out the film language concerning the variety of information brought about the representation of the motion pictures. This issue aims at the speculation and exploratory of the scope and ambitions which are geared towards the illuminations of a possible research which range from the issues of language to the media in American and European history.
The visual culture has led to the globalization of lingua franca, for example, in Sweden, the use of US films and TV programs has widely played a vital role in the distribution of visual culture. The native Swedish children also grow up while they watch videos from the YouTube and surf with the internet with a close relationship to the American media and this culture grows up the speaking of English in that nation. Moreover, the product of Germans has widely explored the rich visual sensibility which has coined the film technology a long time ago. In the years of mid-1930’s, there was coupled spread of the Hollywood films to European nations which was a landslide of the American visual cultural development in the European nations (Petchesky, 1987). The concept of the Hollywood in Europe has been encompassed by aesthetics features which spread the unfamiliarity of social vices such as crime. This is evident from the report of detectives which shows that Hollywood played a key role in the spread of the Second World War.
Conclusion
To sum up, there has been fascinating issues that look how art and cultural change arguments have been encompassing the progress survey of art and way the specific activities have looked into the use of the visual media. The visual cultural inventions have been a long way from installations, painting sculpture, poster making, street theater and photography. It has been the perceptions, attitudes, dreams and desires of the people to influence their cultures through distinct movements which enhance arts and the underscores which are crucial in cultural campaigns and outreach efforts.

References
Freedman, K. (2003). Teaching visual culture: Curriculum, aesthetics, and the social life of art. Teachers College Press.
Petchesky, R. P. (1987). Fetal images: The power of visual culture in the politics of reproduction. Feminist Studies, 13(2), 263-292.