The document provides instructions for students completing their Critical Writing 1 (CW1) assignment, which is due the following Monday. It outlines three submission options for the skills-based project: an image/text collage, a silent film with soundtrack, or a radio recording. The projects must be based on fairy tales or dreams, and utilize specific software and editing techniques. Students completing a video must meet with a instructor in a different room on the due date. The document also reminds students to work on exercises in their workbook.

1. MS1404Criticism and
Writing

2. Reminder about next week: March 11th – CW1 – 25%
DEADLINE: Monday March 11th 2013
CW1: the individual/paired project should be submitted
in week 6. If you are working as a pair the work must be
submitted together. Use a single production cover sheet
and put both student numbers on it. You will need to
include individual barcode sheets too!

3. Reminder about next week: March 11th – CW1 – 25%
DEADLINE: Monday March 11th 2013
SUBMISSIONS: 1) Image Text:
CW1 - Skills: Individual /Paired
Research, develop and design 1 image/text collage per person
based on the adaptation of a particular fairy tale or myth and
considering ideas in the lectures on Freud and the Dreamscape.
Using Adobe CS you will use the cut and paste tool, the type tool
and colour balance. All images used should be original - textual
sources could be gathered from the following sources:
i. Academic text, seminar reading packs, reading list. ii. Speech.
Consider dialogue, lyrics, conversation.
The collages should be printed on A4 paper for submission along
with a digital copy on CD-rom or DVD.

4. Reminder about next week: March 11th – CW1 – 25%
DEADLINE: Monday March 11th 2013
SUBMISSIONS: 2) Video:
CW1 Skills project/ individual or paired
Using in-camera editing you will shoot a 60 second long, silent, non-
narrative film based on your own dreams/nightmares or with
reference to a fairy tale. Once you have shot your film you will then
create a sound track using sound effects recorded in the studio. You
will need to utilise radio skills from last semester here. Finally you
will combine your film and sound effects using FCP and burn to
DVD.

5. Reminder about next week: March 11th – CW1 – 25%
DEADLINE: Monday March 11th 2013
SUBMISSIONS: 3) Radio:
CW1 Skills project/ individual or paired
Using digital audio recorders and basic editing techniques, you will
create a 60 second long, non-narrative audio recording based on
your own dreams/nightmares or with reference to a fairy tale. This
will involve establishing and developing a character(s) either real or
fictional, using sound effects and voice (s) recorded in the studio.
You will need to utilise skills from last semester here. Finally you
will burn to CD or DVD.

6. Reminder about next week: THOSE WHO ARE IN THE
VIDEO STRAND
FOR MARCH 11TH ONLY – YOU WILL
GO TO MEET AND WORK WITH
ANDREA IN ROOM AVA1.29 – from
10:30 – 1:00pm instead of the regular
room – (AVA.1.34)

7. Reminder about Work Book:
Please remember we are asking you to undertake a
specific exercise in the workbook. Whilst this is not due
next week – A reminder to take notes this week in order
to discuss and undertake the work due in the future.
See: UEL/Moodle for downloading workbook
https://moodle.uel.ac.uk/

8. Reminder about Work Book:

9. Aims:
•To learn techniques for critiquing artist‘s work
(and later your own work)
•To examine the language used in writing
about media
•To develop good critical writing skills

10. http://www.softpedia.com/progScreenshots/Planetary-
Dreamscapes-Screenshot-7745.html

12. http://www.kristensimmonsb
ooks.com/books/breaking-
point/

13. Cheryl Maeder (2008), Dreamscapes. http://www.artlica.net/category/cheryl-
maeder

14. Criticizing Media
‘Criticism is informed discourse about art/ media to
increase understanding and appreciation of art/ media’
(T. Barnett 2000:3)
Questions to ask about a piece of work
•What does it mean?
•How does it work?
•Can we think something differently about it?
•What was the intention of the artist practitioner in creating such a
work?

15. Points of Analysis
Subject matter/ themes
The content of the work will include what we see or hear i.e.
the storyline etc but will also cover underlying themes, ideas
or issues.
Form
Medium
Style and structure
Comparing and contrast
Techniques used
If you were discussing genre what would it cover from the
above list?

16. Think about what questions you might ask
about this piece of work.
S. Dali (1931)The Persistence of Memory

17. What does it mean? What is the significance of time?
What is the purpose of the soft clocks?
Does the landscape have meaning? Why doesn‘t the tree have
any leaves?
Why has the artist used these colours? What was the artist trying to
say?
What do the ants mean?
When was the painting made?
What country is the artist from? What symbols are used?

18. Suzanne Szucs ( 2008 ) Sketch 4.I.D
http://www.vsw.org/ai/portfolio/suzanne-
szucs/
And artist‘s website
http://www.suzanneszucs.com/support/pag
es/sketch4ID.html

19. What is the form – i.e. how is it constituted?
What medium is it created in?
What techniques are being used here?
How might we consider the structural and stylistic conventions being
used here?
What symbols are being used ?
What is the artist trying to evoke?
When was the work created?
Where is the artist from, what country?
Can we compare this to another artist‘s work we have already seen.
How might we think about a wider cultural meaning ?

20. MS1404
Critical Writing
When we produce or read a piece of critical writing it
is usually made up of all or some of the following:
•Description
•Interpretation
•Evaluation
•Theorization

21. Description
This is factual and should be kept to the minimum.
Descriptions need to give the reader/ viewer
information, particularly if they cannot see the work.
Consider carefully how you describe subject, form,
medium and style.
• How might this relate to your synopsis?

22. To interpret a piece of work/ image is to make
sense of it.
•What does it represent, what does it express,
what is it about, what is it a response to?
•Does it belong to particular traditions?
•How does culture influence its production?
•What purpose does it serve?
•What pleasure or satisfaction does it bring to its
producer, its audience?
•Whom does it address, whom does it ignore?
•What prejudices and preconceptions does it
reinforce or disrupt?
•Does it change my view of the world?
Interpretation

23. Interpretive claims
Has a piece of work been constructed from a particular perspective,
theoretical viewpoint, belief system, methodology…?
Feminist interpretations
Psychoanalytic interpretations
Formalist interpretations
Marxist interpretations
Ethnographic interpretations

24. This is tied up with judgements: positive, negative or
ambivalent. They get mixed in with both description and
interpretation. Descriptions are not value- neutral or value
free. You need to be conscious of this when you analyse
work.
A good evaluation will summarise strengths and
weaknesses from an informed point of view and be able to
back up opinions with research and analysis.
Evaluation

25. •Theorisation
•To explore answers to big questions and to critically
examine those answers.
•A theory is a set of principles and beliefs about
something.
•Theories can offer competing explanations of a
phenomena.
•Analysis makes theories explicit.

26. AES group, 1996-2003 - http://www.aesf-group.org/index.php?www
Islamic project started on 1996 as an installation and performance with interactive
communication with public: purchasing souvenirs, filling questionnaire concerning their
opinions about Future. It works as a kind of social psychoanalysis – visualization of fears
of Western society about Islam.
Digitally manipulated Photographs

27. William Eggleston
http://www.film4.com/reviews/2005/william-eggleston-in-the-
real-world
Google image re Eccleston‘s images.
http://collections.vam.ac.uk/search/?offset=0&limit=15&narrow
=&extrasearch=&q=william+eggleston&commit=Search&quality
=0&objectnamesearch=&placesearch=&after=&after-
adbc=AD&before=&before-
adbc=AD&namesearch=&materialsearch=&mnsearch=&locatio
nsearch=

28. ‗William Eggleston's colour photographs pinpoint the
moment when colour photography began to be
generally accepted as part of the language of art
photography. Adopting processes previously used to
manipulate advertising images, Eggleston set the
precedent for colour documentary and art photography
of the last twenty years. Eggleston finds in places such
as shopping centres and ordinary interiors, "the
uncommonness of the commonplace", as photographer
Raymond Moore described it. Inspired by the beauty of
family snapshots, Eggleston looks at the everyday and
the overlooked in order to reveal them as remarkable.‘
http://www.vam.ac.uk/vastatic/microsites/photography/
Writing for an audience and effective note taking

29. Choose either photograph A or
B
Using the notes you have made
to help you write a short critique
of the image.
A
B

30. Check list
How effectively did you make use of the notes and
information given in the start of the lecture?
V. good, average, poor?
Did you use any direct quotes or ideas not your own?
If yes did you remember to reference correctly?

31. AES group, 1996-2003 - http://www.aesf-group.org/index.php?www
Digitally manipulated Photographs

32. AES group, 1996-2003 - http://www.aesf-group.org/index.php?www
Islamic project started on 1996 as an installation and performance with interactive
communication with public: purchasing souvenirs, filling questionnaire concerning their
opinions about Future. It works as a kind of social psychoanalysis – visualization of fears
of Western society about Islam.
Digitally manipulated Photographs

33. What does it mean?
How does it work?
Can we think something differently
about it?
What was the intention of the
artist practitioner in creating
such a work?
REMEMBER

34. Phillip Lorca diCorcia
Write a short description of this photograph.

35. ―…In creating his ―Streetwork‖ collection, Di Corcia travelled to several
major cities throughout the world, placed hidden lights on the pavement
to illuminate various spaces and passers-by, and photographed them
(NoorderlightPhotofestival, 1999). His lights created an effect such that
those who passed through them, and those whose images were
captured, appear as though they have been selected from within the
hustle and bustle of their Paris, Calcutta, Tokyo, Rome, or New York City
streets and elevated in such a way that their facial expressions, body
positions, and gestures play off the space to connote a sense of isolation
or alienation. Di Corcia attempts to press ‗pause‘ on fractions of
instances of lives of individuals in the city and reflect them through his
photographs—the resulting images are not so much of individual
subjects as images of what it is to be subject to the city.‖
Wortman R(2010) Street level: Intersections of Art and the Law
Philip-Lorca de Corcia’s “Heads” Project and Nussenzweig v. di
Corcia Gnovis vol 10:2

36. Check list
Who is the writing for and what is its function?
Lecture and seminar notes
Formal academic writing
Always make several drafts of more formal
types of writing