Image Manipulation

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Contents Introduction..............................................................................................................page 3

The Hypodermic Needle Model...............................................................................page 4

The Effects Debate..................................................................................................page 6

Techniques of Propaganda......................................................................................page 7

Modern Propaganda................................................................................................page 9

Leni Riefenstahl.....................................................................................................page 12

Banksy...................................................................................................................page 12

Guerillero Heroico: How Colours Are Used...........................................................page 13

Digital Manipulation...............................................................................................page 15

Dots per Inch.........................................................................................................page 15

Resolution..............................................................................................................page 15

Pixels.....................................................................................................................page 16

Lossy and Lossless Compression.........................................................................page 16

Bitmaps and Vectors..............................................................................................page 16

Creating a Vector...................................................................................................page 18

Mind Map...............................................................................................................page 19

Proposal.................................................................................................................page 19

Concepts................................................................................................................page 21

Final Concepts.......................................................................................................page 23

Final Piece.............................................................................................................page 25

Evaluation..............................................................................................................page 26

Glossary.................................................................................................................page 26

Reference List........................................................................................................page 26

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Propaganda Research

Introduction

Charles Darwin suggested:

"It is worthy of remark that a belief constantly inculcated during the early years of life, whilst the brain is impressible, appears to acquire almost the nature of an instinct; and the very essence of an instinct is that it is followed independently of reason." (Darwin, 1871, The Descent of Man, p.113)

Propaganda is the communication of ideas and values with the intent of affecting the minds of

the target audience, it is often used to characterise preferable truths and untruths to encourage

a specific blend of emotional rather than rational responses to the information being revealed.

This is to provoke a change in attitude towards the targeted subject, often aiding a political

agenda for example the Nazi Party’s disparaging disinformation about the history and traits of

the Jewish people from 1933 to 1945. Such information can be repeated by journalists and

parents, thus reinforcing the ideas as fact even though there is no known authoritative source.

Without the need of direct governmental intervention the ideas can then be recycled through the

media and the education system. As the quote from Charles Darwin’s The Descent of Man

suggests propaganda can arguably become instinctive when the targeted minds have been

subjected to it for a long enough period. Adolf Hitler showed further understanding of this when

he bluntly stated “Through clever and constant application of propaganda, people can be made

to see paradise as hell, and also the other way round, to consider the most wretched sort of life

as paradise.” As a chilling testament to this idea George Orwell wrote the novel 1984 (1950) to

show that a world of war, government surveillance, public mind control, and the voiding of

citizens' rights can indeed be possible and not be challenged if it has been drilled into the minds

of the citizens.

Although the use of propaganda has been discredited due to its employment in the 20th

Century it is important to classify propaganda in order to better understand its various attributes

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and applications. This classification process is focused on the exact nature and origins of the

message as well as the potential for correct information and thus placement in its correct grade.

White Propaganda is truthful of its origin and is generally acknowledged. It is characterised by

gentler methods of persuasion and is the most common type of propaganda. Examples of this

can be found in public information campaigns such as don't drink and drive. Opposition to White

Propaganda is often readily found and may slightly discredit the propaganda source. Black

Propaganda is identified as being from one source but is actually from another, this is to

disguise the true authors of the propaganda. An example of who would use this is an

organisation with a negative image. Opposition to Black Propaganda is often unavailable and

may be dangerous to reveal. Grey Propaganda is propaganda without any identifiable origin. An

application of this would be to use an irrelevant piece of information and reorganise it to direct

attention from the original issue. Opposition to Grey Propaganda may create some level of

public outcry when revealed, usually by a source from within.

The Hypodermic Needle Model

Within less than one hundred years photography, film, radio and television were all invented.

Each one of them allowed works of art or pieces of entertainment that might once have been

restricted to a few number of people to be transmitted in the same form around the world to be

viewed by a large number of people. Now suddenly entertainment was available for all. Early

media theorists struggled to understand this and they came up with the idea of mass audiences.

Baker (no date) cites Blumer (1951) who stated:

“First, its membership may come from all walks of life, and from all distinguishable social state; it may include people of different class position, of different vocation, of different cultural attainment, and of different wealth... Secondly, the mass is an anonymous group, or more exactly is composed of anonymous individuals (By anonymous, Blumer means the people of the mass audience do not know each other). Third, there exists little interaction or change of experience between members of the mass. They are usually physically separated from one another, and, being anonymous, do not have the opportunity to mill as do members of the crowd (Early theorists compared media audiences with

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crowds). Fourth, the mass is very loosely organised and is not able to act with the concertedness or unity of a crowd.”

The Hypodermic Needle Model theory is perhaps the most simple to understand and has

such been popular with many people who fear the effects of the media. This dates from the

1920s and was the first theory of how mass audience might react to mass media. It suggests

that audiences passively receive the information transmitted via a text, without any attempt to

process or challenge it.

During the Second World War and before it, Adolf Hitler and Joseph Stalin had

attempted to use the media as psychologically powerful propaganda through films, radio and

poster art. Ever since propaganda has been seen as a dangerous weapon in the wrong hands

capable of persuading millions to follow evil men.

Nazi propaganda was heavily centred on anti-semeticism but also expressed themes of

the imminent defeat of Germany’s enemies, and the need for security etc. Doctored newsreel

footage was also used to gain support for the Nazi cause. Triumph of the Will (1935) is still

viewed today as a masterpiece in film making. In the 1920s, Nazi propagandists wanted to draw

support for their political machine and create a new attitude of the German countrymen. The

Nazis produced a number of films to promote their views; themes included the virtues of the

Nordic or Aryan race, German military and industrial strength, and the evils of the Nazi party's

enemies.

Fig. 1

By 1936 the Nazi party had at its

disposal nearly all film companies in

Germany. The film Triumph of the Will (see

Figure 1) chronicles the 1934 Nazi Party

Congress in Nuremberg. It features

footage of uniformed party members who are drilling to classical music. The film contains

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excerpts from speeches given by Hitler and various Nazi leaders. Another film is The Eternal

Jew (1940); this film was done in the style of a documentary. The film (see Figure 2) centres on

the racial traits that characterise the Jews as a parasite, whilst Aryan men found satisfaction in

physical labour and honour. These traits are contrasted throughout the film.

Fig. 2

The Nazis also published a great number of

books. The most notable is Hitler’s Mein Kampf

(1925) detailing his beliefs. The book was influenced

by Gustave Le Bon’s The Crowd: A Study of the

Popular Mind (1895) which theorized propaganda as

an adequate rational technique to control the

seemingly irrational behaviour of crowds.

Other books such as Rassenkunde des

deutchen Volkes (1922) by Hans F.K Gunther and

Rasse und Seele (1926) by Dr. Ludwig Ferdinand Clauss attempt to identify the differences

between the German, Nordic or Aryan type and other supposedly inferior people. These books

were used as texts in German schools during the war.

The Effects Debate The ability to confuse audiences en masse may have first become obvious as a result of one of

the most infamous hoaxes in history.

October 30th

1938, millions of Americans tuned into a popular radio program that

featured plays directed by Orson Welles (see Figure 3). The performance that evening was an

adaptation of the science fiction novel The War of the Worlds (1898). Under Welles’ direction

the play was written and performed so it would sound like news broadcasts, presumably

intending to heighten the dramatic effect.

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Fig. 3

As people listened to this

simulation of a broadcast, a portion of the

audience concluded that they were

hearing an actual news account of an

invasion from Mars. People took to the

road, hid in cellars, loaded guns and even

wrapped their heads in wet towels as

protection from Martian poison gas. The broadcast revealed the way politicians could use the

power of mass communications to create theatrical illusions, to manipulate the public.

Sanes (no date) cites Thompson (1938) who wrote an article printed in the New York

Tribune about Welles’ radio broadcast:

All unwittingly, Mr Orson Welles and the Mercury Theatre of the Air have made one of the most fascinating and important demonstrations of all time. They have proved that a few effective voices, accompanied by sound effects, can convince masses of people of a totally unreasonable, completely fantastic proposition as to create a nationwide panic… But Mr Welles scared thousands into demoralization with nothing at all.

The effects of the broadcast suggested that the media could manipulate passive and

gullible audiences leading theorists to believe this was one of the ways media authors shaped

audience perception.

Techniques of Propaganda

Propaganda is transmitted through many media; these include news reports, government

reports, historical revision, anecdotal evidence, books, leaflets, films, radio, television, and

posters. In the Connecticut Historical Society, Civil War Collections there are even examples of

letter envelopes bearing scaled down northern and southern propaganda posters.

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To indoctrinate the target campaigns must follow a strategic transmission pattern. This

may begin with leaflets being dropped from a plane. These messages use seven practiced

techniques in order to in indoctrinate the target audience.

Assertion is commonly used in advertising and modern propaganda. An assertion is an

enthusiastic statement presented as a fact, although it is not necessarily true. They often imply

that the statement requires no explanation or back up, but that it should merely be accepted

without question. Examples of assertion, although somewhat scarce in wartime propaganda,

can be found often in modern advertising propaganda. Any time an advertiser states that their

product is the best without providing evidence for this, they are using an assertion. Assertions,

although usually simple to spot, are often dangerous forms of propaganda because they often

include falsehoods or lies.

Bandwagon is a technique which has been commonly used in wartime as well as having

an important part in modern propaganda in the form of advertising. Bandwagon is an appeal to

a subject to follow the crowd, essentially trying to convince the subject that one side is the

winning side because the most people have joined it. However in modern propaganda

bandwagon is effectively used in advertising. Subjects are compelled to join in because their

peers are doing it for example Apple uses the bandwagon techniques by making the iPod look

desirable by using desirable people. This can often be enhanced by using celebrity

endorsements.

Selective omission involves only presenting information that is positive to an idea and

omitting information that is negative. This technique is used in all forms of propaganda and is

very effective although it can omit a lot of important information.

Glittering generalities often occurs in politics and political propaganda and have positive

meanings for individual subjects but are linked to highly valued concepts. For example freedom

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and democracy are vague terms with high moral connotations intended to arouse faith and

respect. Other words often used are honour, glory, and love of the country.

The lesser of two evils technique is often used to try and convince us of an idea by

presenting it as the least offensive option. This technique is often used to convince people of the

need for sacrifices and difficult decisions during wartime, so is often supported by blaming the

enemy for the action.

Often in politics and wartime but not in advertising the name calling technique occurs. It

is the use of words that carry negative connotation when describing the opposition. Through

labelling a target something that the public does not like can arouse prejudice, for example Nazi

propaganda.

The final of the seven main techniques of propaganda is pin-pointing the enemy which is

extremely used in wartime. This is an attempt to simplify situations by representing the target as

the enemy which needs to be stopped or killed. Although there may be other factors involved

the subject is urged to simply view the situation in terms of right and wrong.

Modern Propaganda

French philosopher and professor of law Jacques Ellul states:

“The goal of modern propaganda is no longer to transform opinion but to arouse an active and mythical belief.” (Ellul, 1965, Propaganda: The Formation of Men’s Attitudes)

This belief is characterised by Ellul, who noticed the conformist images we often unknowingly

receive, in eight different ways. These I have explained below.

• Industrialisation

This is a significant division of labour and expertise. In such situations and complex

environments “dangerous ideas” maybe used to seek out and persuade others to join a

particular cause. Industrial societies are commonly connected greatly between more people,

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thus enabling a constant spread of ideas in a short amount of time. In an environment where

authority is infallible complex propaganda is not necessary in the frozen classes of feudalism or

totalitarianism. For example when the peasants revolt, you simply put them back in their place.

• Complexity

Propaganda makes up a metaphorical web of communication which is seldom simple, such as

making speeches and posters, but that seeks to reach people through all media and situations.

The white propagandist Sir Winston Churchill won a Nobel Prize in Literature because of his

oratorical gifts this was evident in his speeches:

"Even though large tracts of Europe and many old and famous States have fallen or may fall into the grip of Gestapo and all the odious apparatus of Nazi rule, we shall not flag or fail. We shall go on to the end. We shall fight in France, we shall fight on the seas and oceans, we shall fight with growing confidence and growing strength in the air, we shall defend our island, whatever the cost may be...we shall never surrender" (Churchill, 1940)

For the people of the overrun countries, or who felt they where the next to be invaded,

these words rose their spirits and urged them to keep going on. To add further complexity to the

propaganda effort dis-confirming evidence or opinion can be very destructive, so these must be

discredited.

• Masses

In a depersonalised society, where identity comes from the group rather than personal missions,

beliefs, and values, people are forced into the “masses” such as religious, political, work and

social groups. If the propagandist can infiltrate the leaders and fundamentals of the groups they

will be able to convince and convert en masse.

• Integration

The main goals for controlling organisations that use modern propaganda do not do so to

agitate the “masses” but to integrate individuals into society through the use of social norms.

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• Blocs

Propaganda on a global scale has a tendency to fall into a limited and small number of “Blocs”

that often are involved with particular ideologies. Political blocs have long used internal

propaganda to demonise the other, most notably capitalist and communist blocs. Arguably

another example of this is Christian and Islamic blocs fighting in various ways and using

propaganda against one another.

• Totalitarian

In all directions and from virtually every environment propaganda appears and contains

elements of messages that promote conformity, for example thought. In totalitarian countries

people are willing participants in their own imprisonment yet may perceive any other alternate

life styles as wrong.

• Simplification

To make nation or global affairs seem far simpler is a popular effect propagandists seek.

Enemies and friends are always clear whereas social issues for example civil partnership,

euthanasia, and abortion are simplified. Opinions expressed by the public are stereotyped and

represented through a media which expresses great pride in clarifying issues but is also subject

to propagandist messages.

• Omnipresent

This is the final characteristic of modern propaganda and means that that it is everywhere, from

television programmes to your garden shed. All aspects of everyone’s life has been completely

surrendered to the invasion of propaganda from the fashions that people choose to the food that

is eaten.

Leni Riefenstahl

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Helene Bertha Amalie Riefenstahl (see Figure 4) is arguably the most famous director to be

associated with Nazi propaganda and is widely known for her aesthetics and innovations as a

film maker. Her most famous film was Triumph des Willens (Triumph of the Will) and chronicles

the 1934 Nazi Party Congress at Nuremburg. The film shows Hitler and various other Nazi

leaders giving speeches interspersed with footage of massed party members. The overall

purpose of the film is to show that Germany has amassed great power and that Hitler is the true

leader to bring glory to Germany.

Fig. 4

Riefenstahl used techniques such as moving

cameras, the use of a telephoto lens to create distorted

perspective, aerial photography, and a revolutionary

approach to the use of music and cinematography.

The film is arguably a masterpiece of propaganda

which moved, appealed to, and impressed an audience that

was not necessarily interested in politics and it stands as a

powerful artistic representation of the ideas characterised in

Mein Kampf. Techniques of propaganda are clearly used throughout the film to elevate Hitler

such as during the opening scenes Hitler’s plane is flying through the clouds, giving a sense of

divinity and casting a crucifix shaped shadow on the crowd below, and the clever filming of the

crowds watching Hitler’s procession on the streets which gave the impression that every street

Hitler drove down was packed with adoring people.

Banksy

Graffiti borrows elements from popular culture and advertising and thus gives new meanings to

otherwise obsolete or unmoved elements. The subversive and politically controversial graffiti

artist Banksy uses limited colours and stencils in order to quickly place a message in the public

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view in order to gain significance. These messages are often on the topic of embarrassing

authority (see Figure 5) culture, and ethics.

Fig. 5

As well as graffiti Banksy also has a collection of oil

paintings. These paintings are heavily deal with environmental

issues as well as surveillance society, for instance Show Me the

Monet (see Figure 6) depicts a bridge crossing a stream and in

the stream there are two shopping trolleys and a traffic cone. In

this occurrence these objects are seen as pollution. Another

painting illustrates a scene set in the countryside except with an

odd addition, a CCTV tower with cameras pointing in different directions as if trying to find

criminals in the middle of nowhere. This is an

obvious attempt to belittle crime prevention

techniques in the United Kingdom.

Fig. 6

Banksy’s techniques in using humor and

simple images provides us messages which are

easy to understand and are universally

translatable, this makes Banksy’s work ideal

propaganda.

Guerillero Heroico: How Colours Are Used

The celebrated photograph, by Alberto Diaz Gutierrez Korda (see Figure 7), Guerillero Heroico

has been an embodiment of young generations since the 1950s. So much so, that its complex

and conflicting narratives have given Guerillero Heroico its own life independent of the real Che

Guevara.

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The mass production of the image is owed to Irish artist Jim Fitzpatrick (see Figure 8)

whose unique style involved using a paper negative on a grant and printing in black and red.

The stark black cut out became easy, cheap, and fast to reproduce without losing quality by

using lith film and screen printing. This enable wide spread usage of the image, which was

aided further by the lack of copyright on the image which made it possible for the image to

evolve into many styles and to be put on many different merchandise.

Fig. 7

The original use of the image however was

for propagandist purposes. In Korda’s photograph

Che is represented as a mythical hero, it is taken

from a low angle to give the impression of authority,

his searching eyes and firm expression makes him

seem larger than life and so gives Che a dominating

image of authority, independence and defiance.

Fig. 8

The colours in Fitzpatrick’s image have distinct

meanings; the colour red is universally known to represent

danger, it is also true to say that red can conjure mixed and

conflicting emotions so it is due to the viewer’s opinion of

the image that this colour appeals to. Studies have also

shown that red can have a physical effect on the viewer by

increasing the rate of respiration and raising blood

pressure. The colour white is associated with purity,

cleanliness, and innocence. White can also be seen as to represent wholeness and completion

because white is the manifestation of all colours. Black, like red, has many meanings and it is

up to the viewer to judge their own ideas about the use. The opposite of white, black also

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represents polarity. Black absorbs light and conceals, which has come to mean a hidden link to

the unknown or the unseen and also evokes feelings of fear and uncertainty. Under a positive

light black symbolises emptiness in which anything may appear such as potential and

possibility.

Digital Manipulation

For digital manipulation there is editing software, such as Adobe Photoshop CS4, and many

techniques are beneficial in order to create an edited image of quality. Factors that affect the

manipulation process I have discussed below:

Dots per Inch

The quality and appearance of a bitmap image is determined by its size and it’s Dots Per Inch

(DPI). DPI is specified by how many dots across by how many dots tall thus defining the grid

that gets filled in to present the image. In some instances, as when printing images to actual

paper, size can refer to the number of pixels or the physical dimensions, for example 8 by 10

inches. Graphics have different DPI for different purposes, and it's important to know how the

graphic will be used. If the image is very high DPI but is used on the web, it will take longer than

necessary to download. The traditional rule is 72 DPI for images that will only appear online and

300 DPI for images that can be commercially printed.

The term DPI is also used when referring to the overall size of a bitmap graphic. So, for

best results it is necessary to know the number of pixels, the DPI, the physical size, and how the

image is to be used especially when the images are to be printed by a commercial printer.

Bitmaps can effectively be made smaller, but cannot be made larger without degrading the

quality of the graphic.

Resolution

Resolution is the number of distinct pixels in each dimension that can be displayed (for example

1920x1200 pixels) on display devices. The most common application of resolution is Plasma

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Display Panels (PDP), Liquid Crystal Displays (LCD), Digital Light Processing (DLP) projectors,

or similar technology. In digital measurement the display resolution would be given in pixels per

inch.

Pixels

A pixel is a single point in an image. Pixels are normally arranged in a 2-dimensional grid, and

are often represented using dots or squares. Pixels may be blown up to a larger size however

there is a limit to that size. This depends on the resolution and size of the original image to how

much it will pixelate when enlarged.

Lossy and Lossless Compression

Lossy compression is a data compression method which discards some of the data with the

result that decompressing the data yields content that is different from the original. Lossy

compression is most commonly used to compress multimedia data.

By contrast, lossless compression is required for text and data files. This technique of

compression loses none of the original information stored in the file whilst reducing the size,

while lossy compression only loses data that is not perceptible by humans.

Bitmaps and Vectors

A bitmap is made up of pixels and heavily relies on its size and DPI. Advantages of bitmap

images include the ability to represent complex photographic images, and are compatible with

any program that can work with simple bitmap file formats. Whilst its disadvantages are

bitmaps are not effectively scalable to larger sizes and lose the possibility to maintain edit

ability. Bitmap file formats include:

• Joint Photographic Experts Group (JPEG) format is designed to transfer graphic

data and images, and is generally used to hold and transfer full colour photorealistic images.

Although JPEG compresses photos with loss in quality. Photos and multi-colour images,

transferred in this format, are ideal for networking. It is not possible to retain edit ability with

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JPEG images without losing quality, though it is possible to debase them by decreasing the file

size.

• Graphics Interchange Format (GIF) is an 8-bit-per-pixel bitmap image format.

The format uses a palette of up to 256 distinct colours from the 24-bit RGB colour space. It also

supports animations and allows a separate palette of 256 colours for each frame. The colour

limitation makes the GIF format unsuitable for reproducing color photographs and other images

with continuous colour, but it is well-suited for more simple images such as graphics or logos

with solid areas of colour.

• Tagged Image File Format (TIFF) is a container format for storing images,

including photographs and line art. TIFF is a popular format for colour and black and white

images. The TIFF format is widely supported by image-manipulation, publishing and page

layout, scanning, faxing, word processing, optical character recognition and other applications.

• Portable Network Graphics (PNG) is a bitmapped image format that uses

lossless data compression. PNG was created to improve upon and replace the GIF format. PNG

supports palettes of 24-bit RGB colours. PNG is designed for transferring images on the internet

and so does not support other colour spaces such as CMYK.

• Photoshop Document (PSD) format stores an image with support for most

imaging options available in Photoshop. These include layers with masks, colour spaces, ICC

profiles, transparency, text, alpha channels and spot colours, clipping paths, and duotone

settings. This is in contrast to many other file formats like GIF that restrict content to provide

streamlined, predictable functionality.

Vector graphics (see Figure 9) are points connected by paths to create various shapes,

filled with solid or gradient colours. More points and more paths can make more complex

shapes. Basic geometric shapes like lines, circles, ovals, squares, rectangles and polygons with

any number of sides, are mathematically simple and are a good starting point for vector

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graphics. Advantages of vectors include the ultimate size of

the file is very small, vectors have infinite resolution and so

do not pixelate, and the image remains editable for as long

as long as it remains in vector format. Whilst the

disadvantages of vector graphics are that they are not as

universally interoperable as bitmaps, and are not well suited

to photographic images.

Fig. 9

Creating a Vector

By using Adobe Photoshop CS4 it is possible to create a vector graphic. This is in order to make

use of the vector’s advantages; low in memory size, and can be enlarged without any pixilation.

The process of manipulating the chosen image in this way relies heavily on the pen tool in order

to create shapes resembling features of the original image and then fill them with colour, which

again resembles the original.

Detail on vector images is not necessary but it does make it easier to recognise key features of

the face and makes it more realistic. Although it is easy to create an image that looks blotchy by

religiously specifying all colour changes on the face.

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Mind Map

Proposal

For this project I have been asked to research propaganda poster art and document its different

styles, whilst designing and creating my own poster. During my research it is important to pay

particular attention to the change in visual style throughout the history of propaganda be it

through changes in technology or necessity due to the likelihood of more educated

understandings of decoding media. In my design there must be a clear target audience and

contain certain suggested elements. These are digital photographic images, manipulated

images, scanned objects and images, drawn vector images, and graphical text.

Through my research into propaganda uses and techniques I have found that it is best to

persuade your audience using subjects that they already fear, whether through the truth or lies

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and so for my ideas I decided the objective should be to educate the public in our government’s

surveillance techniques through fantastical possibilities. The final product should pose the

question: Is our government allowed to watch us this closely? I want to also include a sense of

radicalism and revolution into my ideas to invoke a feeling in the audience that an underground

organisation is at work in the peoples service, with the sole duty to overthrow totalitarian

authority.

The overall style should be simple and easily reproduced, as well as include ideas of

colour usage seen in Jim Fitzpatrick’s Guirillero Heroico and political controversy as seen in

Banksy’s art.

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Concepts

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Final Concepts

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These concepts follow the idea of compulsory national identification, that we are required to

have our finger prints on governmental records in order to allow access to things that would

otherwise require keys for example our own homes, vehicles, and places of employment. The

tattooed barcode is an identity tag that is swiped for instant identification and is reminiscent of

the numbered tattoos often forced onto prisoners during the Holocaust.

Another idea about the barcode is from the book of John concerning the coming of the

anti-Christ and the end of days. There is a description that says the people of the earth must

wear a symbol on their right wrist or forehead in order to purchase food and clothing, as well as

use services. This idea translates to the barcode as not only identification but also as a credit

card and a way of gaining entry to members’ only institutions such as golf clubs or nightclubs.

Other possibilities are that the barcode could be scanned when you enter a public area

in order to track your movements and emotions.

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Evaluation

For the final product I used the idea of the barcode and transformed it to look like it had been

unceremoniously gouged into the skin. The quotes in the background: war is peace, freedom is

slavery, and ignorance is strength are from George Orwell’s 1984 and represent a controlling

authority with absurd ideas. The use of ransom note type lettering and the lacking of a logo

represent anonymity, as though the creators of the propaganda are afraid for themselves.

If I were to do this project again I would take more time to acquire editing skills in Adobe

Photoshop as well as create more in depth and critically evaluated designs in order to best

produce a believable and original piece of propaganda.

Glossary

CCTV – Closed-circuit Television

CMYK – Cyan, Magenta, Yellow, and Black

DLP – Display Light Processing

DPI – Dots Per Inch

GIF – Graphics Interchange Format

GXL – Graph eXchange Language

JPEG – Joint Photographic Experts Group

LCD – Liquid Crystal Displays

PDP – Plasma Display Panels

PNG – Portable Network Graphics

PSD – Photoshop Document

RGB – Red, Green, and Blue

TIFF – Tagged Image File Format

Reference List Blumer, H. (1951) Principles of Sociology. New York: Barnes & Noble.

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Cited in: Baker, S. (no date) Media Studies [online] Available at: <http://www.spartacus.schoolnet.co.uk/REVmedia.htm> [ Accessed 14th

January 2010]

Clauss, Dr.L.F. (1926) Rasse und Seele. 1st

ed. Berlin: Bu ̈ chergilde Gutenberg.

Darwin, C. (1871) The Descent of Man. London: John Murray, Albemarle Street. Ellul, J (1965) Propaganda: The Formation of Men’s Attitudes. New York: Random House Inc. Gunther, H.F.K. (1922) Rassenkunde des deutchen Volkes. Munich: Lehmans Verlag. Hitler, A (1925) Mein Kampf. Munich: Franz Eher Verlag Jenkins, R. (2001) Churchill: A Biography. New York: Farrar, Straus and Girox. Le Bon, Gustave (1895) The Crowd: A Study of the Popular Mind. Atlanta, Georgia: Cherokee

Publishing Company. Orwell, G. (1950) 1984. England: Penguin Books. Thompson, Dorothy. (1938) ‘On The Record’. New York Tribune, November 2nd

Cited in: Sanes, K. (no date) ‘War of the Worlds, Orson Welles, and the Invasion from Mars’ [online] Available at: <http://www.transparencynow.com/welles.htm> [Accessed 14

. p.92-93.

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Unknown (n.d.) The Mercury Theatre on the Air [online image] Available at: <http://www.vermontmornings.com/WarOfTheWorlds_1938.jpg> [Accessed 11

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