Colour photography and oil painting are definitely related to each other as they both perform the same function. With a technological jump from the oil painting to the more modern device of capturing images, we can turn to the camera. Where oil paintings reflect what people have, publicity shows the aspirations humans want to achieve. And these signs are used constantly in publicity, maybe even to give it a sense of credibility and psychological association. But then Berger goes on to further stimulate our brain buds by questioning 'where is this other way of life?', and indeed where is it?īerger then goes on to say that publicity emulates works of art, indeed pieces of art are actually used by publicity to echo certain devices, or signs such as atmosphere, glamour, romance, idyllic settings, places, objects, poses, symbols of prestige, gestures and even, signs of love.
Part of a four episode series, this episode looks at the phenomenon of publicity with a comparison to oil paintings.Įveryday we are subjected to messages, either mobile on the sides of buses or fixed on walls of tall buildings, nonetheless each of these messages call out to one thing: the promise of another way of life. Let's start off my analysis with firstly acquainting ourselves with this video episode that caused so much controversy when it was first released over thirty years ago.
Berger is also wrong to claim we see paintings in absolute silence. Only when a close-up remains the ONLY view of a camera can"the comprehensive effect of the painting.be changed." Once we've seen the whole painting, we won't forget it. Berger also omits memory when discussing camera close-ups of Breughel's crowded painting. Cameras are tools that facilitate & extend our glorious (happy or traumatic) memories. The camera didn't invent memory (any more than the artist can paint pictures of things or people that only remain in front of her). (At 21:25, speaking about reproductions, Berger does infer the significance of memory & experience, but only by inference and referencing reproductions alone) Memory precludes the camera. Our imaginative minds - packed with memories of many paintings we've seen elsewhere & our whole life experience - CONTEXTUALISES what our eyes see and influences the way we see them. Our eyes are not the ONLY way we see a painting. (NB: Feel free, as Berger invites at the end of his presentation, to "be sceptical of" the following critique!) Berger's omission of memories & imagination questions his false presumption that we only ever see paintings in isolation & silence.