Wednesday, October 30, 2013

The Looming Signs of Tradition

The Looming Signs of Tradition
Signs of tradition are present on every university's campus around the globe; these signs, however, are not universal and convey many different messages to the individuals who observe them. For a small college such as Montevallo, students are subtly influenced by inconspicuous signifiers. The bricks that form our roads, for example, form a subtle but complex image of cohesiveness and functional tradition. This small town atmosphere is directly contrasted with larger universities such as the University of Alabama. On a campus such as UA's, the signs become far less subtle and much larger in size. Most of UA's tradition lies in its prestigious football program; when one thinks of football traditions, one imagines loud, boisterous events that overwhelm the senses with as much pride as possible. Similarly, UA's signs of tradition are large and practically shout their meaning at passersby. Two iconic images of tradition on the campus are Bryant-Denny Stadium and Denny Chimes. These two signs encompass the mindset of tradition on the football-enthused campus.
Bryant-Denny Stadium, the multi-tiered home of Alabama football, dominates the Tuscaloosa skyline. One cannot walk on UA's campus without seeing the stadium peeking over the academic buildings. The arena serves as a constant reminder of the sports driven tradition revered by the residents of Tuscaloosa. The stadium serves several symbolic purposes. First, it enforces football's dominance over all other sports at the University of Alabama. Though the other sports are important, the university has not built a basketball arena or soccer field to match the grandeur of the football stadium. The sheer size of the arena overshadows the other sporting locations, both literally and figuratively. Secondly, the size of the stadium enforces the importance of the football tradition as a whole. When one looks upon the stadium, its purpose as a football arena comes to mind immediately. Thus, an individual's first thought is of football and the often cited winning tradition of the Alabama football program. The interpretation of this dominant icon varies from person to person, but, to those who enjoy the sport, the stadium serves as a beacon of tradition among the smaller, less impressive buildings. To an individual who disapproves of the football program, the looming stadium is an icon of oppression and favoritism. To many dissenters, the football program promotes preferential treatment of athletes and a drastic underfunding of essential education programs. For those opposing the football program, the largeness of the stadium becomes a sign of unbalanced priorities and an unnecessary division of the university's assets. Though the stadium is often polarizing in interpretation, it remains a prominent sign for the university.
One of the most prominent structures on UA's campus is Denny Chimes, the 115-foot tall bell tower that sounds every hour. The bell tower stands as a lonely monolith on the university's main quad. The primary thoroughfare of foot traffic passes right beside the tower, which prevents individuals on campus from ignoring the building. The tower's namesake, George H. Denny, was a bastion of growth for the university; under his presidency from 1912 to 1936, UA saw a drastic increase in student enrollment and a similarly drastic increase in the size of campus. Denny Chimes represents the dedication to growth that is inherent to the university. The size of campus and the amount of facilities available to students is ever growing, and this trend began under the tenure of George H. Denny; it's only fitting that his name adorns a dominating structure at the center of campus. The academically driven sign is not immune to the influence of the football program, however. The concrete slabs at the base of the bell tower are covered in hand and footprints from previous football team captains. Each year, the team captains imprint their hands, feet, and signatures in the concrete; this tradition has existed since 1947. This area of history, named “The Walk of Champions,” is getting larger with each passing year. The football tradition encroaches closer and closer to the academic buildings surrounding the quad. For the supporters of Alabama football, this sign has a positive connotation. The tradition of football is moving towards the strong academic tradition, closing the ever present gap between academics and sports. For the naysayer, however, the steady extension of these slabs is just another siege upon the academic tradition of the university. The athletes are appropriating the walkways and threaten to overtake the paths of knowledge by clogging the gap between athletics and academics with a wall of athletic superiority. The history of Denny Chimes allows for a positive, academically oriented interpretation of the looming monolith, but the overwhelming athletic tradition surrounding the tower provides a source of contention between viewers.

The signs of tradition at the University of Alabama represent a dichotomy of thought on the campus. The academic and athletic traditions are strong at the university, but the extreme dedication to athletics drives a division between the population of Tuscaloosa. The signs of these traditions are larger than life, and, because of their enormous sizes, cause viewers to actively participate in the traditions they represent. The stadium and the bell tower loom over campus, casting their shadows over all of campus; students actively walk through the shadows of tradition any time they walk near these constructs. Tradition is ever-present on campus; whether an individual agrees or disagrees with the inherent meaning of the sign, there is nothing one can do to avoid the images themselves. Each sign has a plethora of meanings, but the root of each meaning lies with tradition.  

Tuesday, October 15, 2013

Image Analysis



This iconic photo from the Vietnam War, taken by AP photographer Nick Ut, depicts the brutal and heart-wrenching aftermath of an allied napalm strike near a native Vietnamese village. The photo shocked the U.S. public, sending waves of horror and discontent rushing through the already disgusted citizens. For those opposing the war on foreign soil, Ut's photo bolstered the already established animosities toward the U.S. government. However, President Richard Nixon and other government officials doubted the authenticity of the photo: “I'm wondering if that was fixed” (Collins), expressed the president to one of his advisers. The photo's authenticity has been confirmed; the young girl in the photo, Phan Thị Kim Phúc, survived the attack and has advocated her story over the last thirty years.

  • Phan Thi Kim Phúc, though situated in the mid-ground of the photo, is the obvious focal point of the black and white image. Her nudity contrasts with the various states of half and full dress of the individuals surrounding her. She stands upright and with her arms outstretched; the image is reminiscent of Christ upon the cross which lends a holy innocence to the young girl mutilated by the atrocities of war. Nick Ut's use of Kim Phúc's tortured visage as the focal point of the photo drives home the image's powerful condemnation of the Vietnamese War as a bloody conflict that endangered the lives of innocents.
  • Ut's full photo, not the cropped version featured in most newspapers of the time, features several South-Vietnamese soldiers behind and to the right of Kim Phúc. These soldiers are cold and unresponsive to the screaming children around them. Their faces are set in stern masks of unfeeling determination; these men have been hardened by the war raging in their country. The men seem accustomed to such terrible scenes of destruction, which indicates to viewers that the napalming of Trang Bang was not the first time the men had witnessed such gruesome murder.
  • A striking aspect of Ut's photo is the spine-chilling expressions on the faces of the fleeing children. The oldest child seems to be Kim Phúc, while the youngest child seems barely old enough to run. All children have some form of shock, terror, or pain openly displayed in both their expressions and body stances. All five children are running away from the looming black cloud left by the napalm strike; the terror and pain is so clear that viewers empathize and feel great sympathy for the afflicted children. The wide range of distress expressed by the children further condemn the over-zealous and destructive tactics employed during the Vietnam War.
  • The ominous black cloud of smoke dominating the background of the photo serves as an appropriate backdrop for the terrifying scene. The cloud obscures the village and the destruction left behind by the fiery napalm explosion. The cloud forms the background of the image, which serves as a metaphor for destruction as whole; the terrors committed in Vietnam by the United States are projected upon a background of fiery destruction that consumes soldier and innocent citizen alike. Outsiders witness only the aftermath of war, not the wounds delivered behind the cloud of war.
  • The use of black and white film forces viewers into a sense of contemplation towards the photo. The lack of color allows viewers to project their own images of warfare onto the photo; viewers might add fiery tinges to the smoke, darkened flesh to those burned by the napalm, and dark official greens to the uniforms of the South-Vietnamese soldiers. This strategy by Ut prevents a passive viewing of the photo by forcing viewers to imagine the realities of war. Viewers contribute their own impressions of war and destruction to the startling depiction of innocent victims.



Banksy, an anonymous graffiti artist and political activist, is known for his striking images dripping with social condemnation. Banksy has graffitied surfaces around the globe, but his art is located primarily in London and New York City. The elusive artist comments on all aspects of society, ranging from increased poverty in third world countries to military brutality on foreign soil. His pieces are usually found in public locations, painted large and in clear view for passersby. Banksy is adamant that his social criticisms be seen by as many people as possible; he went so far as to partner with the Museum of Bristol to establish a three week exhibit of his more physical art pieces. The above painting is one of Banksy's early pieces; it was not featured on a public surface for the general public. It was produced on paper and spread by physical copies and online scans. The original image could not be traced at this time.
  • The image of the young Vietnamese girl is directly taken from Nick Ut's Pulitzer Prize winning photo from the Vietnamese War. Banksy is hearkening back to a time of political unrest in the United States; his goal is to get viewers to remember the tumultuous atmosphere surrounding America at the time the photo was taken. Banksy often uses iconic images to garner an immediate response from viewers; the use of such an iconic symbol of brutal warfare during the American War on Terror is not an unconscious decision. The artist is drawing parallels between the current American war and the previous overseas engagement.
  • Mickey Mouse is an instantly recognizable icon of popular culture in America; the mouse has received a celebrity status and is known all across the globe. The pairing of a prominent entertainment figure with an iconic image of wartime destruction paints an unflattering image of the American superpower. Banksy is insinuating that the American entertainment industry romanticizes the brutality of war with a wide grin and open arms. The jovial stride of Mickey Mouse shows no signs of slowing down; Hollywood and the entire entertainment industry will continue to glorify and romanticize the American war machine in foreign countries.
  • Similar to Mickey Mouse, Ronald McDonald is a widely known icon of American society. Ronald McDonald, however, is a symbol of America's rampant consumerism. In the context of Banksy's painting, this consumerism is cast in a drastically negative light. When coupled with the images of Mickey Mouse and Kim Phúc, the implication becomes far more condemning; American citizens unbiasedly consume the glorification of war produced by the entertainment industry. The clown representing the global fast food industry is waving, unashamedly professing his connection with and love for the terrors of war.
  • Upon closer inspection, the hands of Mickey Mouse and Ronald McDonald provide a deeper and more sinister understanding of Banksy's message. Mickey Mouse's hand has the young victim's arm clutched in an iron grip; the burned and terribly injured girl has no hope of escaping the grip of the pop-icon's large fist. Mickey is forcing the injured girl into servitude while furthering his own agenda through exploitation of the weak. Ronald McDonald places an open hand behind the young girl's other arm. McDonald is guiding the girl forward, aiding Mickey in the girl's forced servitude. The two work together to enslave the weak and utilize her chilling message to their own benefit.
  • The lack of color in Banksy's image is a conscious decision by the artist to both simulate the original image's color scheme and add his own meaning into the painting. By imitating the original gray scale color scheme of the original photo, Banksy maintains the same messages found in Nick Ut's image. However, his addition of the black and white Mickey Mouse and Ronald McDonald injects his own message to the mix; the colorless popular icons drain all lightheartedness from the image. The two figures become sinister and drained of positive personalities. Their sinister personalities are amplified by removing all iconic colors from their original designs. This furthers Banksy's
    condemnation of the American triumvirate of war, entertainment, and consumerism.

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