{"id":1100,"date":"2019-09-07T13:32:04","date_gmt":"2019-09-07T12:32:04","guid":{"rendered":"https:\/\/debraflynnphotography.co.uk\/OCA\/can-blog\/?p=1100"},"modified":"2019-09-08T15:37:18","modified_gmt":"2019-09-08T14:37:18","slug":"beneath-the-surface","status":"publish","type":"post","link":"https:\/\/debraflynnphotography.co.uk\/OCA\/can-blog\/2019\/09\/07\/beneath-the-surface\/","title":{"rendered":"Beneath the surface"},"content":{"rendered":"\n

In this blog ,<\/a> Sharon Boothroyd uses some photographic theory to deconstruct Jeff Wall\u2019s Insomnia<\/em> and deciphers some of the levels of understanding that can be applied to one single image. [accessed 30.08.2019] <\/p>\n\n\n\n

This is an example of how to write a critical essay in a formal manner.<\/p>\n\n\n\n

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She has drawn on the tools described by Derrida and Barthes, but expands to link in her own research into the artist and others in order to support her theories and points.<\/p>\n\n\n\n

I can see examples of PEEL writing in this piece . . . for example: ” I see a kitchen, denoted by the cooker, fridge freezer and table and chairs.  That much is communicated clearly by the use of props.  However what we miss in the denotation is the connotation of the type of kitchen that it is.  The cold colours of the cupboards and the starkness of the scene, the harsh lighting and the hotspots, give a kind of eerie feel.  It connotes a place of discomfort; of coldness and unease which we can sense even though we cannot actually be in that kitchen”. <\/p>\n\n\n\n

David Campany’s video about the book he wrote about Jeff Wall’s Picture for Women, is a picture he has tried to understand for many years and gives him a feeling of unease.<\/p>\n\n\n\n

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