Women, Representation and the Image

Abstract

The study of images in schools and colleges has been widely promoted over the last few years. Developing in conjunction with the growth of film studies in the past ten years, the concern with images and how they produce meaning draws on similar concerns of those of film education: how images are constructed, how they are read and produce readings, the implications of the various determinants of construction, the development of ‘visual literacy’ in students. Image-work, too, seemed to show a way of presenting the discoveries of semiotics through the use of its concepts and tools in the analysis of images in schools. Already established as an area of work by J. P. Golay (though he himself was not a semiotician), it was developed in particular through the work of Roland Barthes, Stuart Hall and Guy Gauthier. 1 Work on images in this way has not only enabled many of the concerns of the film teacher to be introduced in courses without the expense and timetabling of a proper film course, but has also opened up areas of work on the still photograph, which itself has been incorporated into work on film — through the kinds of teaching materials such as Teachers’ Protest 2 introducing notions of editing, framing, and narrative construction through the combination and ordering of still images.

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