Inside the image factory: stock photography and cultural production

Frosh, Paul

doi:10.1177/016344301023005005

Cited by 54 publications

(40 citation statements)

References 6 publications

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“…The responses of the greeting card industry are familiar from similar rhetorical strategies that we hear from the producers of other maligned culture industries such as stock photography (Frosh, 2001a(Frosh, , 2001b and popular music (Negus, 1998). However, these counter-arguments do not necessarily address the concern that the culture industries limit people's capacity for self-expression, aim for the 'lowest common denominator' in terms of quality, or manipulate consumers into purchasing their goods.…”

Section: Discussionmentioning

confidence: 99%

When you care enough to defend the very best: how the greeting card industry manages cultural criticism

West

2007

Media, Culture & Society

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The American greeting card industry, in particular industry leader Hallmark Cards, makes substantial efforts to deflect cultural critiques in its communications with the public, demonstrating how culture industries actively manage their negative associations with mass culture as well as the public’s fears of an advancing ‘commodity frontier’. Hallmark frames its cultural production as creative while de-emphasizing its industrial nature, and, whenever possible, aligns itself with the legitimating cultural categories of art and the folk to counter the idea that greeting cards are false, manufactured sentiment. Hallmark also argues that the consumer is sovereign in order to contradict critics’ claims that it imposes its mass-produced cards on the public. The way the greeting card industry seeks to manage cultural anxiety about industrialized culture is discussed, as well as the limits of their response.

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Section: Discussionmentioning

confidence: 99%

When you care enough to defend the very best: how the greeting card industry manages cultural criticism

West

2007

Media, Culture & Society

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“…These images are mainly photographic and more often than not stock photographs. This makes the stock photography industry ‘a powerful force behind the culture of the image’ and a ‘principal site for the production and distribution of photographic images in culture as a whole’ (Frosh , 628). The reality depicted in stock photography ‘is the optimized version of a common global reality’ (Bruhn , 374).…”

Section: The Overproduction Of Imagesmentioning

confidence: 99%

“…The audience that these images are designed for do not determine this currency alone, rather it is determined by the complex network of actors responsible for the production and dissemination of such images within media communications. This network includes visual communication designers who, by imagining the kinds of images which consumers will respond to, assume the role of ‘cultural mediators’ in that determination (Frosh , 634).…”

Section: The Overproduction Of Imagesmentioning

confidence: 99%

The Design of Stereotype and the Image

Roxburgh¹,

Caratti²

2017

Int J Art Design Ed

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Our everyday life is influenced by an overproduction of images and by an iconogenic surplus that is connected to the proliferation of media. These contribute to both the quality and quantity of communication, but simultaneously amplify the knowledge gap between an audience that is able to critically process messages and another that is affected uncritically by prejudices and stereotypes. Bellino argues for a critical media education to address this gap by encouraging the development of students' critical thinking and social awareness. In this article we will discuss the results of a research‐driven design project in which visual communication design students engaged with theories of cultural stereotypes and critiqued the role of media in their perpetuation. We adopted Kolb's model of experiential learning as recent published research demonstrates that art and design students have difficulties in conventional academic approaches to learning theory. In this regard students learned theories of stereotype through doing and making and embodied this learning in their critical project outcomes.

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“…This is why stock photography is an especially clear, pioneering sector for the rapid, powerful organizational change of the creative economy. The term stock photography denotes commercial marketing of usage rights to copyright protected, preproduced visual contents (Frosh 2001). Our analysis focuses on picture agencies, which, acting as their creators' commercial representatives, sell picture usage rights to customers and retain a part of the licensing fees as compensation.…”

Section: The Picture Market and The Role Of Trade Fairs And Congressesmentioning

confidence: 99%

Rewiring global networks at local events: congresses in the stock photo trade

Panitz

Glückler

2016

Global Networks

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Keywords TEMPORARY CLUSTER, TRADE FAIRS, REWIRING, SOCIAL NETWORKS, TRANSNATIONAL SOCIAL RELATIONS ProblemThe parallelism of increasing globalization of economic relationships and the growing number of events in the creative economy such as trade fairs and congresses is the point of departure for this article. The current literatures of economic geography and organization studies portray the relationship between these two developments in three ways: these events fulfil the functions of (1) market locations for commercial transaction, (2) moments of institutional configuration of organizational fields, and (3) temporary clusters where suppliers, customers and competitors seek and exchange knowledge. This article goes on to elaborate a fourth central function of business events, which is closely related to the reconstitution of global industry networks, namely the rewiring of

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Inside the image factory: stock photography and cultural production

Cited by 54 publications

References 6 publications

When you care enough to defend the very best: how the greeting card industry manages cultural criticism

When you care enough to defend the very best: how the greeting card industry manages cultural criticism

The Design of Stereotype and the Image

Rewiring global networks at local events: congresses in the stock photo trade

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