Test Bank for Practices of Looking
Third Edition
By Marita Sturken and Lisa Cartwright
Test Bank prepared by Artemisa Clark
Chapter 1: Images, Power, and Politics
Multiple Choice: Choosethemostcorrectanswer.
1. ____________referstotheuseoflanguage,marks,andimagestocreatemeaningaboutthe worldaroundus.
a. Interpellation
b. Reproduction
c. Interpretation
d. Representation
Answer:D
Page:18
Bloom’s:Remembering
A-Head:Representation
2. Throughhispracticeofarrivingwithacameraatthesceneofacrimequicklyand composinganewsstoryaboutitoutofhiscartrunk, maybedescribedasa protosocial-mediajournalist.
a. ScottMcCloud
b. TimothyO’Sullivan
c. Weegee
d. RobertFrank
Answer:C
Page:14
Bloom’s:Remembering
A-Head:Introduction
3. Whatisthestudyofsigns,symbols,andhowweinterpretthem?
a. semiotics
b. hermeneutics
c. myth
d. mimesis
Answer:A Pages:32–33
Bloom’s:Remembering
A-Head:SemioticsandSigns
4 ____________signs,asdiscussedbyCharlesPeirce,involvean“existential”relationship betweenthesignandtheinterpretant.Thismeanstheyhaveco-existedinthesame placeatthesametime.
a. Iconic
b. Indexical
c Literal
d. Symbolic
Answer:B
Page:37
Bloom’s:Remembering
A-Head:SemioticsandSigns
5. AccordingtoSaussure’ssemioticsystem,a(n)____________isanimagethatrefersto somethingoutsideofitsindividualcomponents,something(orsomeone)thathasgreat symbolicmeaningformanypeople.
a. icon
b symbol
c. index
d. referent
Answer:A
Page:41
Bloom’s:Remembering
A-Head:ImageIcons
6. Wemakemeaningofthematerialworldthroughunderstandingimages,objects,and otherentitiesintheirspecific____________.
a. symbolism
b. theoreticalcontexts
c. culturalcontexts
d. allegories
Answer:C
Page:19
Bloom’s:Remembering
A-Head:Representation
7. Throughoutitshistory,photographyhasbeenassociatedwith____________.
a. myth
b. realism
c. symbolism
d. ideology
Answer:B Page:24
Bloom’s:Remembering
A-Head:TheMythofPhotographicTruth
8. The____________meaningofRobertFrank’s Trolley New Orleans (1955),inwhichblack andwhitepassengersrideatrolley,isdependentupontheviewer’sculturaland historicalknowledgeofraceandcivilrightsactivismintheUnitedStates.
a. mythic
b. denotative
c. semiotic
d. connotative
Answer:D
Page:29
Bloom’s:Understanding
A-Head:Myth,Connotation,andtheMeaningofImages
9. Henri-HoraceRolanddelaPorce’s Still Life (c.1765)depictsanarrayoffoodanddrink onatable,yetitcanalsobereadasa____________ofthetransienceofearthlylife.
a. studium
b. sign
c. signifier
d. signified
Answer:D
Page:20
Bloom’s:Understanding
A-Head:Representation
10.A1999anti-smokingbillboarddepictedtheusuallyruggedandindividualisticMarlboro Manassickwithemphysema.AccordingtoBarthes’smodelofsemiotics,this advertisementwasintendedtochangethe____________associatedwithMarlborofrom masculinitytodeath.
a. studium
b. sign
c. signifier
d. signified
Answer:D
Pages:34–35
Bloom’s:Understanding
A-Head:SemioticsandSigns
11.EmmettTill’smotherinsistedthatherson’sbodybeplacedonviewinanopen-casket funeralforthepresstodocumentandthepublictosee.Herdecisionwentagainstthe wishesoftheauthoritiesinMississippi,whowantedthemutilatedbodyquicklyburied. MamieTill’sdecisionisanexampleof____________.
a. realism
b. visuality
c. countervisuality
d. appropriation
Answer:C Page:23
Bloom’s:Understanding A-Head:VisionandVisuality
12 Theauthorsarguethatitiswrongtoassumethatcameraimagesmaybeproduced withouthumanintervention.Evendashboard,surveillance,anddronecameraimages involvehumanintervention.Thisisbecausethedesignersandprogrammersofthese cameras____________.
a. createdmachinesthatoftendonotwork
b. turnthemonandoff
c. arewellversedinthehistoryofstillphotography
d. madedecisionsabouttheirdesignandoperationbasedonsocialnormsand standards
Answer:D Page:25
Bloom’s:Understanding A-Head:TheMythofPhotographicTruth
13.Whatisacriticismof“citizenjournalism”citedinthischapter?
a. Duetotheubiquityofimagesfromagivenevent,itishardertointerpretwhat definitivelyoccurred.
b. Photojournalistsmustcompetewith“amateur”mobile-phonephotographerswho donotgetpaidfortheirlabor.
c. Theimagesproducedbycitizenjournalistsareusuallypoorinquality,subverting thefieldofphotojournalism.
d. Thelocationatandtimeduringwhichanimagewastakenistooeasilyalteredto trustthatmostimagesofaneventaretruthfulrecords.
Answer:B Page:18
Bloom’s:Understanding A-Head:Introduction
14.Ourknowledgethatimagescanbeambiguousandeasilyalteredisinconstanttension withaphotograph’s____________.
a. signifier
b. representation
c. studium
d. punctum
Answer:C Pages:27–28
Bloom’s:Understanding A-Head:TheMythofPhotographicTruth
15.Thebeliefthattoseeistoknowsuggeststhatifonlyonecouldseeeverything,one couldunderstandall.Asamplifiedby#notabugsplat,however,thedistanced perspectiveofadronecreatesa(n)____________visualeconomy.
a. reflexive
b. humanizing
c. mythical
d. inhumane
Answer:D
Page:24
Bloom’s:Analyzing A-Head:VisionandVisuality
16.Asthepopularityofimagemanipulationsoftwareincreased,sodidtheinterestinthe questionofphotographictruth.Whichofthefollowingimageswasscrutinized intensivelyaspartofthisscholarlyinquiry?
a. TimothyO’Sullivan, Gettysburg, Pa. Dead Confederate Soldier in “the Devil’s Den” (1863)
b. DorothyLange, Migrant Mother (1936)
c. JeffWidener, Tank Man (aka Unknown Protester)(1989)
d. RobertFrank, Trolley New Orleans (1955)
Answer:A
Page:26
Bloom’s:Analyzing A-Head:TheMythofPhotographicTruth
17.LevipostsaFacebookselfieofhisextendedfamilyenjoyingthemselvesonthefirstday oftheirHanukkahcelebration.Thisisanimportant“Kodakmoment”thatdocuments theparticularoccasionandalsoaffirmsfamily____________.
a. individuality
b. indexicality
c. mimesis
d. ideology
Answer:D Page:39
Bloom’s:Analyzing A-Head:ImagesandIdeology
18.WhichofthefollowingmostaffectsourunderstandingofDorotheaLange’s Migrant Mother asaniconicimage?
a. astilllifeportrait
b. aMadonnaandchildpainting
c. aphotographofacivilrightsprotest
d. a Woman’s Day magazinecover
Answer:B
Pages:46–47
Bloom’s:Analyzing
A-Head:ImageIcons
19.Atasororitymixer,Sukicapturesthevariedexpressionsonthefacesofagroupofher friendswhoarenotawareofhercameraandwhoseattentionisfocusedonsomething notwithintheframeofherpicture.Intheserespects,herphotomostresembleswhich ofthefollowingimages?
a. Weegee, The First Murder (1941)
b. DorotheaLange, Migrant Mother, Nipomo, California (1936)
c. Coverof Paris Match,no.326,June25–July2,1955
d. TimothyO’Sullivan, Gettysburg, Pa. Dead Confederate Soldier in “the Devil’s Den” (1863)
Answer:A
Pages:14–15
Bloom’s:Analyzing
A-Head:LookingasEverydayPractice
20 SeveralstudentswhoattendedamassiveprotestatHudsonUniversitysentphotos takenontheirphonestothe Hudson Gazette.Theonethe Gazette decidedtopublish depictedasingleindividualarmedwithacanofspraypaint.Thisimagewaslikely selectedforits
a. culturalcomplexity
b. punctum
c. visualsimplicity
d. interpretivelabor
Answer:C
Page:43
Bloom’s:Analyzing
A-Head:ImageIcons
Short Answer
1 DescribeRolandBarthes’sconceptofmythasitisusedinthischapter.
Answer:Mythisthehiddensetofrulesandconventionsthroughwhichmeanings, whicharespecifictocertaingroups,aremadetoseemnatural,universal,andgivenfor awholesociety.
Page:30
A-Head:Myth,Connotation,andtheMeaningofImages
2 Whydoesphotographyseemtofitthepositivistwayofthinking?
Answer:Photographyseemedtosuitthepositivistwayofthinkingbecauseitisa methodofproducingrepresentationsthroughaseeminglyobjectivemechanical recordingdeviceratherthanrelyingsolelyonthescientist’ssubjectiveeyeandhand.
Page:25
A-Head:TheMythofPhotographicTruth
3 Howhasphotographylostitssenseof“whathasbeen”thatderivesfromitsindexical quality?
Answer:Wehavebecomesousedtothepossibilitiesforcreativemanipulationof location,proximity,andhistoricalperiod,allofwhichcanbeevokedwithdigitaleffects.
Page:39
A-Head:ImagesandIdeologies
4. HowdoesFerdinanddeSaussuredefinesignandsignifier?
Answer:ForSaussure,thesignifieristheentitythatrepresents,andthesignisthe combinationofthesignifierandthesignified(whatisrepresented).
Page:32
A-Head:SemioticsandSigns
Essay Questions
1 ExplainhowReneMagritte’swork The Treachery of Images playswithideasof representation.
Mainpoint: The Treachery of Images commentsontheprocessofrepresentationby pointingouttherelationshipamongwords,images,andthings.
Answers must includethefollowing:
a. The Treachery of Images isapaintingdepictingapipeunderwhichthestatement “Cesin’estpasunepipe”/“Thisisnotapipe”appears.
b Representationreferstotheuseoflanguage,marks,andimagestocreatemeaning abouttheworldaroundus.
c. Theimagecontainsalabelwithinitselfthatnegatesitsownfunctionasa representation;itisan image ofapipe,andthereforerepresentationsarenever trulyconsonantwithwhattheyprofesstobe.
Answers may includethefollowing:
a. Magrittesuggeststhattheworkofrepresentingisalsoaformofplay,insofaras meaningsarealwayspointingtowardswhatisnotandareoftenshiftingintheir relationshipstoobjects,thereal,andfantasy.
b. Magritteextendshiscommentaryin Les Deux Mystéres (TheTwoMysteries)(1966), inwhich The Treachery of Images ispaintednexttoalargerpipe,seeminglyfloating intheair.Foucaultinterpretsthissecondpipeasametaphorforrepresentationas fantasy.
c. ScottMcClouduses The Treachery of Images toarguethatwearesurroundedby imagesthatplaywithrepresentation,unmaskingourinitialassumptions.
Pages:20–22
A-Head:Representation
2 HowdoesJ.W.Orr’sengraving Harvesting the Sugar Cane (1853)depicttheenactment ofpowerthroughvisuality?
Mainpoint: Harvesting the Sugar Cane isanexampleoftheimplementationoftheright andpowertolookasaprivilegegrantedtothoseinauthoritytomaintainastatusquo. Theoverseerlooksdownonhisslaves,buttheycannotlookupathim.
Answers must includethefollowing:
a. Visualityallowsustoanalyzethewaysinwhichthesystemsofpowerenactand enforceauthoritypracticallyandsymbolically.
b. Theoverseer’selevationenhanceshisabilitytokeeptheworkersinviewwhilealso symbolicallyplacinghimabovethem.
c. NicholasMirzoeffuses Harvesting the Sugar Cane asanexampleoftheslave plantationasasitewherevisionwasusedtoexercisecommandandcontrolthrough thesurveillanceoftheslavebytheoverseer.
Answers may includethefollowing:
a Thewhiprestingontheoverseer’sshoulderisathreatkeptinfullview.Anyslave whoglancesupattheoverseerwillberemindedbythesightofthewhiptoputtheir headdownandworkharderandfasteroutoffear.
b. Mirzoefflinksthismodeofvisualitytothecontemporaryvisualcommandand controlsystemsusedinmodernwarfare.
c Examinationofsocialstructuresmayrevealhowpowercanberesistedinvisual termsthroughcountervisuality.
Pages:22–23
A-Head:VisionandVisuality
Chapter 2: Viewers Make Meaning
Multiple Choice: Choosethemostcorrectanswer.
1. isinformedbyexperiencesrelatingtoone’sclass,culturalbackground, education,andotheraspectsofidentity.
e. Interpretation
f. Taste
g. Knowledge
h. Understanding
Answer: B Page:60
Bloom’s:Remembering
A-Head:AestheticsandTaste
2. Incountriesthatfollow ,ownershipoftheexpressionofanideacannotbe soldorgivenaway.
e. copyrightlaw
f. theartmarket
g. moralrights
h. ideology
Answer:C Page:58
Bloom’s:Remembering
A-Head:Producers’IntendedMeanings
3. Whatistheprocessinwhichsocialmovementstakehegemonictextsoroncederogatorytermsandreusetheminaffirmingandempoweringways?
a. transcoding
b. appropriation
c. negotiation
d. institutionalcritique
Answer:A Pages:79
Bloom’s:Remembering
A-Head:ViewingStrategies
4. isamethodusedfortheanalysisofboththeroleofeconomicsinhistorical progressandthewaysthatcapitalismworkstoproduceclassrelations.
a. Negotiation
b. Aesthetics
c Marxism
d. Appropriation
Answer:C
Page:75
Bloom’s:Remembering
A-Head:ReadingImagesasIdeologicalSubjects
5. WhichDadaistartistdevelopedanddisplayed“readymades”?
a. Dalí
b. Haacke
c. Wilson
d. Duchamp
e. Tretchikoff
Answer:D Page:72
Bloom’s:Remembering
A-Head:Value,Collecting,andInstitutionalCritique
6. Someartistshaveformed tocritiquetheeconomyandcultureofthefine artistascreativegeniusandthegallerysysteminwhichfineartacquiresvalue.
a. subcultures
b. collectives
c. signifyingpractices
d. beliefsystems
Answer:B Page:57
Bloom’s:Remembering
A-Head:Producers’IntendedMeaning
7. isatermusedbyDickHebdigetodescribethechoicesthataremadetogive objectsnewmeaningsandaestheticvaluesthatdifferfromtheiroriginalcontext.
a. Signifyingpractices
b. Transcoding
c. Dominant-hegemonic
d. Oppositional
Answer:A Page:80
Bloom’s:Remembering
A-Head:ViewingStrategies
8. BarbaraKruger’s Untitled (Your manias become science) usesanimageoftheatomic bomb,originallysuggestingtheprimacyofWesternscienceandtechnology,toexpress a(n)____________sentimentthroughitscritiqueofnuclearweapons.
a. aesthetic
b. hegemonic
c. counterhegemonic
d. strategic
Answer:C
Page:78
Bloom’s:Understanding
A-Head:ReadingImagesasIdeologicalSubjects
9. In Archduke Leopold Wilhelm in His Picture Gallery in Brussels (c.1650–51),David TenierstheYoungerdepictsArchdukeLeopoldWilhelmsurroundedbyhispersonal collectionofpaintings.Indoingso,heaffirmsthearchduke’simportanceasa
a. connoisseur
b. textualpoacher
c. prolificpainter
d. prosumer
Answer:A Page:67
Bloom’s:Understanding
A-Head:Value,Collecting,andInstitutionalCritique
10.WherewouldasnowglobefallonJamesClifford’smapoftheArt-CultureSystem?
e. Not-Culture
f. Not-Art
g. Art
h. Culture
Answer:B
Page:70
Bloom’s:Understanding
A-Head:Value,Collecting,andInstitutionalCritique
11.Traditionallyassociatedwithdomesticity,safetypinswereappropriatedbythe1970s punkmovementasaformofdecorationthatsignaledarefusaltoparticipatein mainstreamdomesticcultureanddisdainforthedrearynormsofeverydayconsumer culture.Anothertermforthistypeofsignifyingpracticeis____________.
a. bricolage
b. strategy
c. habitus
d. kitsch
Answer:A Page:80
Bloom’s:Understanding
A-Head:ViewingStrategies
12.Theiconic1917posterofUncleSamdeclaresthathewantsYOU.Theviewer,however, mayresistinterpellationintothisideologyofnationalismbyfollowingtheadviceof W.J.T.Mitchell,whoasks,“Whatdoesthispicture____________?”ratherthan“Whatdoes it ?”
a. evoke;want
b. want;say
c. say;evoke
d. want;do
Answer:D Page:54
Bloom’s:Understanding
A-Head:Introduction
13.Kitschobjectsusedtocommemoratetraumaticeventsruntheriskof____________.
a. repackaginghistorytomakeitfeellessoppressive
b. prepackagingnationalsentimentwithoutanyindicationofthepoliticalcomplexity ofsurroundingthoseevents.
c. conservinghistoricalmeaningsabouttasteandvalueofacertainera
d. erasingthewaysinwhichspecificcommunitiesandindividualshaveinterpreted populartextstostrengthentheirbondsorchallengeoppression
Answer:B
Page:62
Bloom’s:Understanding
A-Head:AestheticsandTaste
14.ApastelversionofEdvardMunch’spainting The Scream (1895)soldatauctionfora record-breaking$119.9million,valuebasedonnotjusttheartworkbutalsoits provenanceandrelateddesignationsofauthenticity.Thisexemplifiestheimportanceof the____________inmakingmeaning
a. deathoftheauthor
b. connoisseur
c. prosumer
d. producerfunction
Answer:D Page:68
Bloom’s:Understanding A-Head:Value,Collecting,andInstitutionalCritique
15.Ina1939essay,ClementGreenbergarguedthatavant-gardeart,asopposedtokitsch,is serious,highmodernist,andnonobjective,requiringtheviewer’sactive,reflective,and educatedengagement.Anumberofworkscomplicatesimpledistinctions,however,