This is not a manipulation authentic bodies in digital image

Tämä kaksiosainen tutkimus rakentaa ensimmäisessä osassa teoreettista välineistöä digitaalisen valokuvan ja autenttisen ruumiin käsittelemiseen yhdistämällä Michell Foucaultin ja Judith Butlerin ajatuksia. Toisessa osassa tätä välineistöä sovelletaan Intelligent Life lehden kansikuvaa käsittelevään...

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Main Author: Lehtinen, Mikko
Other Authors: Humanistinen tiedekunta, Faculty of Humanities, Taiteiden ja kulttuurin tutkimuksen laitos, Department of Art and Cultural Studies, University of Jyväskylä, Jyväskylän yliopisto
Format: Master's thesis
Language:eng
Published: 2014
Subjects:
Online Access: https://jyx.jyu.fi/handle/123456789/43902
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author Lehtinen, Mikko
author2 Humanistinen tiedekunta Faculty of Humanities Taiteiden ja kulttuurin tutkimuksen laitos Department of Art and Cultural Studies University of Jyväskylä Jyväskylän yliopisto
author_facet Lehtinen, Mikko Humanistinen tiedekunta Faculty of Humanities Taiteiden ja kulttuurin tutkimuksen laitos Department of Art and Cultural Studies University of Jyväskylä Jyväskylän yliopisto Lehtinen, Mikko Humanistinen tiedekunta Faculty of Humanities Taiteiden ja kulttuurin tutkimuksen laitos Department of Art and Cultural Studies University of Jyväskylä Jyväskylän yliopisto
author_sort Lehtinen, Mikko
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description Tämä kaksiosainen tutkimus rakentaa ensimmäisessä osassa teoreettista välineistöä digitaalisen valokuvan ja autenttisen ruumiin käsittelemiseen yhdistämällä Michell Foucaultin ja Judith Butlerin ajatuksia. Toisessa osassa tätä välineistöä sovelletaan Intelligent Life lehden kansikuvaa käsittelevään tapaustutkimukseen, jossa kansikuvan alleviivattua digitaalista muokkaamattomutta käsitellään performatiivisen autenttisuuden näkökulmasta. Autenttisen määrittelemisen ja käytön kontrolli on tutkimuksen keskeinen teema. Foucault ja Butler yhdistyvät näkemykseksi, jonka mukaan autenttinen rakentuu teoista jotka performoivat autenttista. Autenttisen ja epäautenttisen välisen rajan hämärtäminen digitaalisen kuvan ja digitaalisen kuvanmuokkauksen autenttiselle muodostaman uhan ydin. Intelligent Lifen Cate Blanchett kansi performoi autenttisuutta tarkoin valittujen ja rajattujen virheiden kautta. Tunnistettavin digitaalisen kuvanmuokkauksen käyttä olisi virheiden ja epätäydellisyyksien -kuten ryppyjen – peittäminen, joten eksplisiittisen tapa performoida digitaalista muokkaamattomuutta on näyttämällä näitä virheitä. Tutkimuksen mukaan luonnollisen ruumiin vallankumous johon kansikuva sijoittaa itsensä naamioi normatiivisen ruumiin sorretuksi päästäkseen käsiksi vallankumousdiskurssin hyötyihin. Tutkimus myös toteaa, että luonnollinen ja autenttinen ovat tässä kontekstissa normatiivisen kontrollinen välineitä ja että autenttinen ruumis määritellään vastakkainasettelussa epänormaavisen ja toiseutta edustavan ruumiin kanssa. This study is twofold: In the first part I set out to build a theoretical toolbox for discussing authentic bodies in digital photography by combining ideas of Michel Foucault and Judith Butler. The second part is a case study of a cover of Intelligent Life featuring Cate Blanchett. The cover made a point of not being digitally manipulated and I apply the theory formulated in the first part of the study to discuss this from the point of view of performed authenticity. Control over definitions and uses of authentic is central theme of the study. Foucault and Butlers agree on the idea that authentic is composed of acts and in this study authenticity is viewed as a combination of acts that perform authenticity. The study suggests that blurring the line between authentic and unauthentic is the threat digital image and digital image manipulation pose to authentic. The Cate Blanchett cover of Intelligent Life performs authenticity by presenting carefully regulated and select imperfections. The most recognized use of digital manipulation would be hiding imperfections and from that point of view the most explicit way to perform not being digitally manipulated is to have some imperfections – wrinkles for example - visible. The study suggests that the rebellion to which the cover places itself in is masquerading the actually normative body as repressed to gain access to the advantageous discourse of rebellion. It is also concluded that natural and authentic in this context are attributes of normative control and that authentic body is defined in opposition to a non normative other of wrong bodies.
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spellingShingle Lehtinen, Mikko This is not a manipulation : authentic bodies in digital image digital photography authentic performance body Digital Culture (maisteriohjelma) International Master's Degree Programme in Digital Culture 319 ruumis valokuvat digitaalikuvaus keho autenttisuus performatiivisuus
title This is not a manipulation : authentic bodies in digital image
title_alt Authentic bodies in digital image
title_full This is not a manipulation : authentic bodies in digital image
title_fullStr This is not a manipulation : authentic bodies in digital image This is not a manipulation : authentic bodies in digital image
title_full_unstemmed This is not a manipulation : authentic bodies in digital image This is not a manipulation : authentic bodies in digital image
title_short This is not a manipulation
title_sort this is not a manipulation authentic bodies in digital image
title_sub authentic bodies in digital image
title_txtP This is not a manipulation : authentic bodies in digital image
topic digital photography authentic performance body Digital Culture (maisteriohjelma) International Master's Degree Programme in Digital Culture 319 ruumis valokuvat digitaalikuvaus keho autenttisuus performatiivisuus
topic_facet 319 Digital Culture (maisteriohjelma) International Master's Degree Programme in Digital Culture autenttisuus authentic body digitaalikuvaus digital photography keho performance performatiivisuus ruumis valokuvat
url https://jyx.jyu.fi/handle/123456789/43902 http://www.urn.fi/URN:NBN:fi:jyu-201407172240
work_keys_str_mv AT lehtinenmikko thisisnotamanipulationauthenticbodiesindigitalimage