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Main Body 1: Context & Themes (850 words approx) This section will evidence the breadth and depth of your background research whilst also demonstrating your own independent critical understanding of the contexts (be they aesthetic, cultural, historical, technological, social, political or other) contexts relevant to your chosen topic and, indeed, your subject discipline.
Use the opinions of your Theorists and texts to construct your argument.
- Evidence that you are aware of the key theoretical sources within your chosen topic.
- Evidence an awareness of all the key contextual information within your chosen topic.
- Try to use reliable sources at all times.
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- Evidence that you can triangulate between all chosen sources - linking together the points of your texts and theorists.
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- You should avoid writing in a linear or chronological fashion.
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- Use Harvard Referencing throughout.
- Try to use a mixture of paraphrasing, author/date citations, and short quotes (try to avoid long quotes).
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My background research is based on the oppressive influence and control politics can have over society. Through historical social reform in the education system, the control of community through consumerism today, and the inner workings of propaganda throughout time.
I have found evidence through various movements in animation and in texts based on historical and contemporary political events, mostly showing a trend based after the rise of corrupt regimes and communism during and after World War 2.
The education of community on the moral values in British animation and politics, I have found, expresses the true nature of art and design. Carrying a message that can be a reminder of our courage and belief in the ability to express ourselves as individuals without oppression, with the freedoms of the ability to think and do as we please. Researching and understanding of the oppressive power and control political leaders can have, taking advantage or influencing a community.
I have found evidence through various movements in animation and in texts based on historical and contemporary political events, mostly showing a trend based after the rise of corrupt regimes and communism during and after World War 2.
The education of community on the moral values in British animation and politics, I have found, expresses the true nature of art and design. Carrying a message that can be a reminder of our courage and belief in the ability to express ourselves as individuals without oppression, with the freedoms of the ability to think and do as we please. Researching and understanding of the oppressive power and control political leaders can have, taking advantage or influencing a community.
Researching the media used and why, of different forms and movements to portray strong illustrated and animated images for awareness on political purpose. For a visual perspective on a subjective and oppressive society through story of experience, conveying a message to educate, to warn, and/or shock a society about the horrors endured, the endeavours taken, but also the reform post war and the effect on society. The evidence I have gathered through reading and understanding imagery from (citation check) 'Gerald Scarfe, Weidenfeld & Nicolson, 2010 book The Making of Pink Floyd, The Wall, and the film Pink Floyd the Wall, 1982 based around a character 'Pink'. For a contextual awareness on the media techniques used and researching the development of concepts and storyline throughout.
The Wall, 2002, Wikipedia: The Free Encyclopedia, This article is about the Pink Floyd album (online). Available at: https://en.wikipedia.org/wiki/The_Wall, (Accessed) 18.03.18. 'The Wall is a rock opera that explores abandonment and isolation, symbolised by a metaphorical wall. The songs create an approximate storyline of events in the life of the protagonist, Pink, a character based on Syd Barrett as well as Roger Waters, whose father was killed during the Second World War. Pink's father also dies in a war, which is where Pink starts to build a metaphorical "wall" around him. Pink is oppressed by his overprotective mother and tormented at school by tyrannical, abusive teachers.'
The art concepts and storyline based are researched from the film Pink Floyd the Wall, 1982 summed up in this referenced plot form online website article, describing a documentation of imagery of expression in shocking, unnerving and irrational scenes. Depicting strange creatures, seemingly formed from imagination or based from objects of war. Telling a story with these creatures, carrying strong meanings and symbolism of icons and idols of oppression in the minds of those who experienced them. Subjective, tormenting, and dark figures representing a restrict hold on young minds, binding and forming them into objects of war and of a consumerist society, they are metaphoric tools of political control on society.
Illustrated through concepts with strong bleeding media, such as ink and paint combined with dark detailed drawings with ink and pencil. Outlining figures and shapes influenced of a surrealist art movement and painting techniques describing imagination and allowing the unconscious to express itself dramatically visually and lyrically. This symbolic art style has similarities related in the historical arts of war, emphasising the compassion for the suffering, devastated landscapes and ideology through abstract and surrealism themes. (more citation?)
Jacques Ellul - Author of the technological society, 1965, PROPAGANDA - The formations of men's attitudes, East Lansing Michigan, Knopf, pages 38-39.
"In this way propaganda can be creative. And it is in complete control of its creations; the passions or prejudices that it instils in a man serve to strengthen its hold on him and thus make him do what he would never have done otherwise."
The Dadaist movement in post war, for example, expressing the opposite, the disgust with the war. A similar style from the film Pink Floyd the Wall, 1982, communicating a loss of faith in culture and expressing absurdity, nonsense, surrealism and nightmares, above all the failure of logic and rationalism within political understanding, meaning for community and sanity.
As a solider would experience the opposite of political messages and detest the big prowess of war such as the industry or modern technology, and expressing modernists styles of dramatic distortions and symbolic meanings of instead destruction and the horrors of war.
The Wall, 2002, Wikipedia: The Free Encyclopedia, This article is about the Pink Floyd album (online). Available at: https://en.wikipedia.org/wiki/The_Wall, (Accessed) 18.03.18. 'The Wall is a rock opera that explores abandonment and isolation, symbolised by a metaphorical wall. The songs create an approximate storyline of events in the life of the protagonist, Pink, a character based on Syd Barrett as well as Roger Waters, whose father was killed during the Second World War. Pink's father also dies in a war, which is where Pink starts to build a metaphorical "wall" around him. Pink is oppressed by his overprotective mother and tormented at school by tyrannical, abusive teachers.'
The art concepts and storyline based are researched from the film Pink Floyd the Wall, 1982 summed up in this referenced plot form online website article, describing a documentation of imagery of expression in shocking, unnerving and irrational scenes. Depicting strange creatures, seemingly formed from imagination or based from objects of war. Telling a story with these creatures, carrying strong meanings and symbolism of icons and idols of oppression in the minds of those who experienced them. Subjective, tormenting, and dark figures representing a restrict hold on young minds, binding and forming them into objects of war and of a consumerist society, they are metaphoric tools of political control on society.
Illustrated through concepts with strong bleeding media, such as ink and paint combined with dark detailed drawings with ink and pencil. Outlining figures and shapes influenced of a surrealist art movement and painting techniques describing imagination and allowing the unconscious to express itself dramatically visually and lyrically. This symbolic art style has similarities related in the historical arts of war, emphasising the compassion for the suffering, devastated landscapes and ideology through abstract and surrealism themes. (more citation?)
Jacques Ellul - Author of the technological society, 1965, PROPAGANDA - The formations of men's attitudes, East Lansing Michigan, Knopf, pages 38-39.
"In this way propaganda can be creative. And it is in complete control of its creations; the passions or prejudices that it instils in a man serve to strengthen its hold on him and thus make him do what he would never have done otherwise."
The Dadaist movement in post war, for example, expressing the opposite, the disgust with the war. A similar style from the film Pink Floyd the Wall, 1982, communicating a loss of faith in culture and expressing absurdity, nonsense, surrealism and nightmares, above all the failure of logic and rationalism within political understanding, meaning for community and sanity.
As a solider would experience the opposite of political messages and detest the big prowess of war such as the industry or modern technology, and expressing modernists styles of dramatic distortions and symbolic meanings of instead destruction and the horrors of war.
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