
The Pictorial Turn and Visual Rhetoric: Analyzing Image Agency and Persuasion in Contemporary Media
- 1 South China Normal University
* Author to whom correspondence should be addressed.
Abstract
In a time where the role of the image within academic and cultural contexts is undergoing a paradigm shift, especially since the notion of the pictorial turn proposed by the American art historian W J T Mitchell, the following paper will argue that the image is not only a passive representation, but has also become an active force in the construction of social realities, public opinion and the formation of subjectivity. The theory of image agency by Mitchell will be discussed in order to explain how images in political propaganda, social movements and advertising are used to either reaffirm or challenge hegemonic decisions. Examples such as the poster ‘Rosie the Riveter’ and the advertisement ‘If You’re Not Fast, You’re Food’ by Timberland will be used to illustrate the persuasive power of the image in modern communication. The proliferation of digital platforms such as Instagram or TikTok, which support a predominantly visual mode of communication, will be discussed in order to demonstrate how images come with an expanded force of impact. In this manner, the conclusion will underline that image studies and visual rhetoric are of utmost importance to an understanding of the contemporary information dissemination.
Keywords
pictorial turn, visual rhetoric, image agency, W.J.T. Mitchell, advertising
[1]. Ferretti, G. (2023). Why the pictorial needs the motoric. Erkenntnis, 88(2), 771-805.
[2]. Hawkins, R. D., et al. (2023). Visual resemblance and interaction history jointly constrain pictorial meaning. Nature Communications, 14(1), 2199.
[3]. Brassey, V. (2023). The pictorial narrator. Estetika: The European Journal of Aesthetics, 60(1), 55-70.
[4]. Bohnsack, R. (2024). Documentary method and praxeological sociology of knowledge in the interpretation of pictures. methaodos. Social Science Journal, 12.
[5]. Lenninger, S., & Sonesson, G. (2023). Semiotics in picture and image studies. In Bloomsbury Semiotics Volume 3: Semiotics in the Arts and Social Sciences (Vol. 3, p. 149).
[6]. Martikainen, J., & Sakki, I. (2024). Visual humanization of refugees: A visual rhetorical analysis of media discourse on the war in Ukraine. British Journal of Social Psychology, 63(1), 106-130.
[7]. Mitchell, W. J. T. (2023). Old trees, wild rivers: CI at fifty. Critical Inquiry, 50(1), 175-177.
[8]. Gleason, T. R., & Hansen, S. S. (2023). Image control: The visual rhetoric of President Obama. In Barack Hussein Obama’s Presidency (pp. 20-36). Routledge.
[9]. Aczél, P. (2023). Visual hybrids as constitutive rhetorical acts: Rhetorical interplay between unity and difference. Poetics Today, 44(4), 631-646.
[10]. Martikainen, J., & Sakki, I. (2024). Visual humanization of refugees: A visual rhetorical analysis of media discourse on the war in Ukraine. British Journal of Social Psychology, 63(1), 106-130.
[11]. Bakri, M., Krisjanous, J., & Richard, J. E. (2023). Examining sojourners as visual influencers in VFR (visiting friends and relatives) tourism: A rhetorical analysis of user-generated images. Journal of Travel Research, 62(8), 1685-1706.
Cite this article
Li,J. (2024). The Pictorial Turn and Visual Rhetoric: Analyzing Image Agency and Persuasion in Contemporary Media. Advances in Humanities Research,9,31-35.
Data availability
The datasets used and/or analyzed during the current study will be available from the authors upon reasonable request.
Disclaimer/Publisher's Note
The statements, opinions and data contained in all publications are solely those of the individual author(s) and contributor(s) and not of EWA Publishing and/or the editor(s). EWA Publishing and/or the editor(s) disclaim responsibility for any injury to people or property resulting from any ideas, methods, instructions or products referred to in the content.
About volume
Journal:Advances in Humanities Research
© 2024 by the author(s). Licensee EWA Publishing, Oxford, UK. This article is an open access article distributed under the terms and
conditions of the Creative Commons Attribution (CC BY) license. Authors who
publish this series agree to the following terms:
1. Authors retain copyright and grant the series right of first publication with the work simultaneously licensed under a Creative Commons
Attribution License that allows others to share the work with an acknowledgment of the work's authorship and initial publication in this
series.
2. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the series's published
version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgment of its initial
publication in this series.
3. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and
during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See
Open access policy for details).